Upon arriving at John F. Kennedy International Airport on January 22, 2020 from an international flight from Egypt, Eldarir had submitted a customs declaration form to U.S. Customs and Border Protection agency (CBP), as required for all travellers entering the United States.  On that form, he had stated that he was bringing in merchandise and agricultural products worth $300.  However, when CBP officers inspected his luggage, instead of finding low value business related products, they discovered three suitcases filled from top to bottom with antiquities wrapped in protective packaging. 

Inside Eldarir's careful bubblewrap and foam padding were a total of 590 Egyptian artefacts.  Some of these still had sand and soil adhering to them, a telltale sign which underscored their recent excavation, and, in the words of the agents examining his luggage, still smelled of wet earth. 

Along with the antiquities, CBP agents found documents "written in Arabic on watermarked paper with stamps affixed on the top right of the documents, and two-hole punches along the left-hand side" along with blank paper resembling that of the purported provenances, with the same watermark and two-hole punches along the left-hand side and thirteen loose stamps similar to the ones used on the provenances.  When asked if he had ever sold historical artefacts previously, Eldarir replied that he had sold "a few in the last few years", a statement which would turn out to be a gross understatement.

Given that he was unable to provide the customs agents with sufficient proof that the packaged artefacts he was importing into New York had legally been exported from Egypt prior to the enactment of the country's 06 August 1983 Law No. 117 "on the Protection of Antiquities, CBP seized the antiquities pending further investigation.

Eldarir was subsequently arrested on 28 February 2020 and charged in the United States District Court, Eastern District of New York, on two counts of smuggling, under Title 18 U.S. Code § 545, 2 and 3551 et seq.  As part of that investigation, the United States also sought forfeiture of the following antiquities in accordance with: (a) Title 18, United States Code, Section 982(a)(2)(B):

forty-one (41) ancient Egyptian gold artifacts;

nineteen (19) ancient coins;

two (2) Greco-Roman rings;

thirty-one (31) ancient Egyptian talismans (Ptolemaic period);

fourteen (14) ancient beads;

twenty-six (26) ancient Egyptian wooden figures;

four hundred (400) ancient Egyptian faience ushabtis;

three (3) ancient Egyptian wooden panels with painted figures;

one ( I ) ancient Egyptian large stone face;

two (2) Egyptian wooden masks;

two (2) Egyptian stone panels with hieroglyphics; 

three (3) ancient Egyptian canopic jar lids;

two (2) ancient Greco-Roman stela;

one (1) ancient Greco-Roman terracotta headless torso with robes;

seven (7) ancient Greco-Roman terracotta statues; 

three (3) ancient Egyptian large terracotta vases; 

two (2) Egyptian smalIterracotta vases;

two (2) Egyptian alabaster artifacts;

two (2) ancient Egyptian Osiris headpieces/crowns; 

twenty-six (26) ancient Greco-Roman oil lamps; 

one (1) Greco-Roman terracotta pilgrim's flask;

one (1) ancient Egyptian polychrome relief.

For years prior to his arrest, Eldarir had been successfully laundering plundered artefacts onto the licit ancient art market.   Often his pieces carried with them a fabricated provenance claiming that the pieces were part of "The Ashraf Eldarir Private Collection of Ancient Art, New York, USA", or "Acquired by Izz al-Din Tah al-Darir Bey in Egypt December 1946 from Salah al-Din Sarmali Bey" or that they had been inherited through the trafficker's grandfather. 

To disguise their illicit origins, and to cosmetically claim that the pieces were derived from a collection which predated Egypt's ban on export, Eldarir's trafficked artefacts sometimes mentioned that his grandfather or "Ezeldeen Eldarir," was a friend of Prince of Egypt, Omar Tosson, with whom he shared a passion for archaeology or that the collection had been formed during the 1930s-1940s, mostly as gifts from Prince Tosson, which he claimed had been moved to the United States "in 1948 where it remained with the family until the present day."

With no export licenses, and no factual proof which supported his vague claims of long term ownership for the pieces he handled, aside from what would turned out to be self-made documents giving a cosmetic overhaul of legitimacy, Eldarir's smuggled antiquities circulated among US and Europe's prestigious ancient art galleries from 2012 until shortly after his arrest was announced publicly.  After which ARCA published a list of material it had identified as being linked to the suspect trafficker.  This compilation of suspect Egyptian antiquities was made public on 8 July 2020, and can be found here.

One of the more interesting high value pieces was this portrait head of a man, sold first through Christies New York in 2012 for $52,500.  Despite the trafficker's arrest in the US, this piece was still up for sale during the COVID-affected TEFAF Maastricht art fair in 2020, at the stand of Swiss dealer, Jean David Cahn.  Here the piece was called "a Portrait Head of the Emporer Severus Alexander" with a price on request. 

Image Credit: Safani Gallery TEFAF Maastricht advertisement

In terms of its history, DANY's court documents set out that the head was discovered during excavations of the Basilica Aemilia, located on the Via Sacra.  This is the ancient road between the Capitoline Hill and the Colosseum located within the Roman Forum in Rome. While little remains of the Basilica Aemilia today, it was considered by Rome historian Pliny the Elder to be one of the three most beautiful elements of the Roman Forum, this alongside the Forum of Augustus and the Temple of Peace. 

Looking across the remains of the Basilica Aemilia towards the Severan Arch, the Tabularium, and the Modern Senate House Image Credit: B. Dolan

The head was discovered at some point during Italian research excavations carried out by Drs. Professors Giacomo Boni and later by Professor Alfonso Bartoli which were carried out on the Palatine Hill between 1899 and 1939.  Documentation from the excavations suggest that the head belongs to one of the “Statues of Parthian Barbarians” which once adorned the Basilica.

After 20 BCE Roman art often portrayed the people of the Empire and during its restoration in 14 BCE, Augustus chose to line the Basilica with a series of Parthian figurines, perhaps in humiliation of Rome's ancient foreign enemy.  Representing individuals from the Parthian Empire (also known as the Arsacid Empire), these likenesses depicted the conquered Parthians as representatives of the Orbis Alter, subjects of Rome which were not considered to be part of the “civilised” world.  Stylistically, they differ from representations we have from the same period of people from the Orbis Romanus. 

According to court documents, the Italian Soprintendenza alle Antichità Palatino e Foro Romano began keeping archival photographic documentation of the objects discovered during the lengthy excavation starting in 1908.  Based on these records, the head of Alexander the Great, seized from the New York gallery, is believed to have been discovered during the second phase of these excavations which began after 1909. This dating is derived as the Italian authorities have no written, descriptive entries or photographic archival documentation of any marble head finds from the Roman forum of the Barbarian statues prior to 1909.   It was also not until September 1909 that Dr. Professor Bartoli's team began their explorations in the zone of the Basilica Aemilia.  As a result of this and other evidence described in the New York Court's Application for Turnover it seems most likely that the marble head was found sometime around 1910.

In this instance, the Alexander head has sold in the United States and in the United Kingdom on multiple occasions.

But where was the object bought and sold? 

While the documentation of this object's collection history is spartan, we know that on 22 November 1974 the head of Alexander sold for a mere $650, having been consigned by the Hagop Kevorkian fund to Sotheby Parke Bernet.  Sotheby’s Auction House acquired Parke Bernet Galleries in 1964 and adopted the name Sotheby Parke Bernet throughout the 1970s.  Today, this auction house is known simply as Sotheby’s.  The buyer at the time was listed only as "Altertum Ltd."

Sometime after that date the object was then purportedly purchased by Professor Oikonomides who indicated to others that he purchased the object while vacationing in Cairo, Egypt sometime between 1984 and 1986.  The object was then bequeathed to Dr. Miller by Oikonomides through his estate when he passed away in 1988.

Sotheby's Website Screen Capture taken 24 July 2018

On 08 December 2011 the object sold at Sotheby's for a second time during Sotheby’s Egyptian, Classical and Western Asiatic Antiquities sale .

At the time of this auction, the purported provenance for the object was listed as:

Hagop Kevorkian (1872-1962), New York, most likely acquired prior to World War II
The Hagop Kevorkian Fund (Sotheby Parke Bernet, New York, November 22nd, 1974, no. 317, illus.)
A.N. Oikonomides, Chicago

But with very little in the way of documentation to confirm this narrative.

The object sold to an unidentified buyer for $92,500 USD.

In May 2017, the head of Alexander surfaced across the Atlantic.  This time the ancient marble head went up for sale in the United Kingdom, having once been in the possession of former Qatari culture minister and cousin of the current ruler of the oil-rich Arab country, Sheikh Saud bin Mohammed Ali Al-Thani.  Before his death in 2014 Sheikh Saud Al-Thani was believed to have been the world's richest art collector.

Through Classical Galleries Limited, UK the Sheikh’s foundation sold the head of Alexander to Alan Safani of Safani Gallery for $152,625 on June 20, 2017.

Object Identified

Safani Gallery Booth - TEFAF 2018 Image Credit: L. Albertson

By an amazing bit of serendipity, on 19 February 2018 Dr. Patrizia Fortini, Director and Coordinator of the Archaeological Site of the Roman Forum and Palatine Hill chanced upon an advertisement which featured a photo of the stolen head in a publication for the upcoming 2018 Fine Arts Expo known as TEFAF.  In the dealer's documentation, a photograph of the marble head had been included highlighting Safani Gallery's offerings for the upcoming Maastricht sale scheduled to be held in the Netherlands from March 10 through 18 in 2018.

The photo in the advertisement and the old archival documentation photo of the head in the Museo Forense’s cloister were identified as one and the same object and as a result, Italy moved forward in requesting the object's seizure.

“[a] finding that the Manhattan DA violated the Constitution by seizing the Head without probable cause and without due process would not change the fact that only the state court can order the disposition of the Head.”

By:  Lynda Albertson 

In 2013 the Metropolitan Museum of Art restituted two,10th-century, Koh Ker stone statues, known as the “Kneeling Attendants” to Cambodia.  These artefacts had been donated in separate stages to the Museum in the late 1980s and early 1990s and had been associated with antiquities collector-dealer-trafficker Douglas Latchford, a/k/a “Pakpong Kriangsak”, who for 50 years, was once considered one of the world’s leading authorities on Asian Art before his unmasking. 

As early as 2012, Bangkok-based Latchford had already been identified in a civil lawsuit, as a middleman in the trafficking of looted Khmer sculptures from “an organized looting network” and was said to have conspired with the London auction house Spink & Son Ltd., to launder looted temple antiquities. 

Douglas Latchford's Facebook photo on 28 October 2017, two years before he was indicted.

In 2019 charges were filed in the United States against the then 88 year old Latchford by Assistant U.S. Attorney Jessica Feinstein, in the Office’s Money Laundering and Transnational Criminal Enterprises Unit, for his purported role in "wire fraud, smuggling, conspiracy and related charges pertaining to his trafficking in stolen and looted Cambodian antiquities." Many of the suspect objects mentioned in his 25 page indictment passed through his hands en route to the Met and other important collections, during the course of his business operations.  Latchford died on 2 August 2020 before he could be extradited to the United States and his indictment was formally dismissed, due to his death, the following month. 

Last Friday, the United States authorities announced that the Met would be returning fourteen more pieces to Cambodia, dating from the ninth to the 14th centuries, plus an additional artefacts to Thailand.

The pieces going home to Cambodia are:

This 7th century CE pre-Angkor period sandstone Head of a Buddha, which was purportedly with implicated New York dealer Doris Wiener from 1984–2005 until she gifted it to the Metropolitan Museum of Art in 2005, upon which it was given Accession Number: 2005.512.  

This 10th - 11th century CE copper Bodhisattva Avalokiteshvara Seated in Royal Ease. It was given Accession Number: 1992.336 when it was purchased directly from Douglas Latchford using funds from the Annenberg Foundation Gift. 

This 11th century sandstone Standing Female Deity, (probably Uma), Accession Number: 1983.14 was sold by Douglas Latchford to Spink & Son Ltd., London,  who in turn sold it onward to the Metropolitan Museum of Art. 

This 10th century sandstone Standing Female Deity, which was given Accession Number: 2003.605. This artefact was purportedly with Doris Wiener from 1998 through 2003.  Various saved accession record dates show it was either donated to the Metropolitan by Doris Wiener, in honour of Martin Lerner or was purchased through this New York dealer. 

This partially fragmented 930 - 960 CE  bronze Face from a Male Deity, came to the museum via a Latchford donation in honour of Martin Lerner.   It was given Accession Number: 1998.320a–f.

This ca. 920–50 CE stone Head of a Buddha, was also donated to the museum by Douglas Latchford in 1983 (with no provenance listed), where it was given Accession Number: 1983.551. 

This 10th century, Angkor period bronze Head of Avalokiteshvara, the Bodhisattva of Infinite Compassion was in circulation with Spink & Son Ltd., London until 1998, when it was then sold to an undisclosed private collector who donated the artefact to the Metropolitan the same year, and was given Accession Number: 1998.322.

This 11th century, Angkor period, bronze Four-Armed Avalokiteshvara (Bodhisattva of Infinite Compassion)  This bodhisattva is often depicted with multiple heads and arms symbolising his limitless capacity to help alleviate grievances and is venerated as the ideal of karuna, the willingness to bear the pain of others.  Given Accession Number: 1999.262, the statue was directly purchased by the museum from Douglas Latchford via funds from Friends of Asian Art Gifts, Cynthia Hazen Polsky Gift, and Josephine L. Berger-Nadler and Dr. M. Leon Canick Gift. 

This 11th century architectural Lintel with Shiva on Nandi, Accession Number: 1996.473. This doorway topping was previously purchased in 1993 by Steven M. Kossak, owner of the prominent "Kronos Collections", who then loaned the piece to the Met for three years before eventually donating it to the museum in 1996. 

This late 9th century, stone Angkor period, Khmer style of Bakong, Headless Female Figure, Accession Number: 2003.592.1, is said to have been in the possession of Latchford's friend, Alexander Götz.  Originally living in Bali, then for a time in Germany, Götz and his family moved to London in 1990 where he opened a gallery specialising in Southeast Asian art, with Indonesia as the main focus. He closed his London gallery in 2015 and has since moved back to Indonesia.

This late 12th century, stone Angkor period, Standing Eight-Armed Avalokiteshvara, the Bodhisattva of Infinite Compassion. Given Accession Number: 2002.477, this stature was sold by Douglas Latchford to Jeffrey B. Soref, heir to the Master Lock fortune, who sits on the Board of Directors at the Metropolitan.  Soref in turn loaned his purchase to the Met from 1999–2002 before gifting it to the museum in 2002.  Authorities in Cambodia had received information from a reformed looter named Toek Tik, who admitted to personally stealing this, as well as other artworks from Cambodia over a span of 20 years during his time as a smuggler.

This 7th–8th century, bronze pre-Angkor period, Ardhanarishvara (Composite of Shiva and Parvati), depicts the god as half male and half female representing the Shakta as worshipper and Shakti as devotee relationship which gives the Ardhanarishvara male and female characteristics.  Assigned Accession Number: 1993.387.4 the female side of this sculpture depicts Parvati’s elegant hairstyle and flowing skirt and exposed breast, while the male side gives us half of Shiva’s moustache, as well as his third eye.  Originally, the public accession record listed only the donation of this object as coming from Enid A. Haup (who had purchased and donated another problematic piece).  The more recent the Met's record was updated to state that the statue was sold by Spink & Son Ltd., London to Haupt who gifted it to the Met in 1993.

This 9th century, stone Angkor period depicting the Head of Bodhisattva Avalokiteshvara. Given Accession Number: 1997.434.1, it was previously owned by American pipeline billionaire George Lyle Lindemann, a collector who frequently bought Khmer artefacts from individuals, some of whom were later implicated in the trade and trafficking of Cambodia's cultural heritage.  Lindemann gifted the object to the Met in 1997, who listed the object with no prior provenance, aside from the name of the wealthy donor.

This 11th century, sandstone Angkor period, Male Deity, probably Shiva.  Depicted with four-arms and a high chignon of jatamukuta, wearing a pleated sampot, this statue was given Accession Number: 1987.414.  The Met's website listed that the statue as previously owned by Margery and Harry Kahn who gifted the object to the Met in 1987 and that the statue "likely formed the centerpiece of a triad in a chapel of an unidentified temple in the vicinity of Angkor Thom.  Its style relates to sculptures recorded from the Baphuon temple, a monumental step-pyramid dedicated to Shiva, built as the state temple by King Udayadityavarman II."

The Artefacts Returning to Thailand are:

This 11th century Gilt-copper alloy, with silver inlay, possibly miss-named statue of a Standing Shiva, is believed to be the most complete extant gilded-bronze image from Angkor.  Given Accession Number: 1988.355, it belongs to a small group of metal sculptures of Hindu deities associated with royal cult practices that were discovered in Khmer territories including Cambodia and northeastern Thailand.  The statue was purchased by Walter H. and Leonore Annenberg via Spink & Son Ltd., London in 1988 and donated that same year to the Met. 

This 11th century bronze inlayed with silver and traces of gold statue of a Kneeling Female Figure, perhaps a Khmer queen, who kneels in a posture of adoration with arms raised above her head and palms pressed together.  Given Accession Number: 1972.147, she was sold to the museum by Doris Wiener. 

"Every one of the 1.5 million objects in our collection has a unique history, and part of the Museum’s mission is to tell these stories. When, how, and where was it created? Who made it and why? What was going on at that time and place in history? The Met also examines the ownership history or provenance: where has the object been and in whose care?" 

• forty-one (41) ancient Egyptian gold artifacts;
• nineteen (19) ancient coins;
• two (2) Greco-Roman rings;
• thirty-one (31) ancient Egyptian talismans (Ptolemaic period);
• fourteen (14) ancient beads;
• twenty-six (26) ancient Egyptian wooden figures;
• four hundred (400) ancient Egyptian faience ushabtis;
• three (3) ancient Egyptian wooden panels with painted figures;
• one ( I ) ancient Egyptian large stone face;
• two (2) Egyptian wooden masks;
• two (2) Egyptian stone panels with hieroglyphics; 
• three (3) ancient Egyptian canopic jar lids;
• two (2) ancient Greco-Roman stela;
• one (1) ancient Greco-Roman terracotta headless torso with robes;
• seven (7) ancient Greco-Roman terracotta statues; 
• three (3) ancient Egyptian large terracotta vases; 
• two (2) Egyptian smalIterracotta vases;
• two (2) Egyptian alabaster artifacts;
• two (2) ancient Egyptian Osiris headpieces/crowns; 
• twenty-six (26) ancient Greco-Roman oil lamps; 
• one (1) Greco-Roman terracotta pilgrim's flask;
• one (1) ancient Egyptian polychrome relief.

The tax collectors, unsigned Oil on panel : 78,2 X 100 cm, 16th century

failing to register to collect and to collect New York and local sales tax between 2013 to 2017 on purchases made in and/or delivered to New York despite having a legal obligation to do so. In addition, Christie’s Private Sales also admitted that once certain employees finally determined in 2015 that the entity had an outstanding obligation to register to collect and to collect New York sales tax with the New York State Department of Taxation & Finance (“NYS Tax”), it failed to register the entity to collect tax with NYS Tax because of the perceived audit risk. Subsequently, Christie’s Private Sales began collecting sales tax from its customers without registering, and Christie’s New York, who were long registered to collect sales tax in New York, falsely reported and remitted this sales tax to NYS Tax as its own.