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.

On Monday, January 23, 2023, at 1 pm in Rome, a formal ceremony will be held regarding the return to Italy, from the United States, of 58 antiquities valued at nearly $19 million.  This event will be held at the Ministry of Culture's Sala Spadolini inside the Consiglio Nazionale al Collegio Romano.

The objects returned are the direct result of investigations in the United States regarding international traffickers of antiquities conducted by the Antiquities Trafficking Unit at the District Attorney's Office in New York in Manhattan, in collaboration with the Comando Carabinieri Tutela Patrimonio Culturale (TPC).  

Present for the event will be the Italy's Minister of Culture, Gennaro Sangiuliano,  the Deputy Prosecutor of the Republic at the Court of Rome, Angelantonio Racanelli; the Commander of the Carabinieri TPC, General B. Vincenzo Molinese; and New York Assistant District Attorney Col. Matthew Bogdanos. 

This event will be direct streamed via the YouTube channel of Italy's Ministry of Culture for those who wish to attend the ceremony digitally. 

https://www.youtube.com/watch?v=x-RcYKNBHtk&ab_channel=MiC_Italia

Marble head of Athena, ca. 200 BCE

In discussing these returns in a press release issued by the New York County District Attorney's Office, the New York authorities stated that these artefacts had been trafficked by Giacomo Medici, Giovanni Franco Becchina, Pasquale Camera and Edoardo Almagiá.  Twenty one of the pieces had been seized from the Metropolitan Museum of Art while the other thirty-seven were recovered from a New York collector and an antiquities dealer.

When speaking of these objects homecoming to Italy, Manhattan District Attorney Alvin L. Bragg, Jr., was quoted as saying:

“These 58 pieces represent thousands of years of rich history, yet traffickers throughout Italy utilised looters to steal these items and to line their own pockets. For far too long, they have sat in museums, homes, and galleries that had no rightful claim to their ownership.”  

Discussing the recent Italian restitutions Bragg also addressed the difficulty and time needed to work these complicated cultural property crime cases stating:

“Exposing these schemes takes years of diligent and difficult investigative work, and I applaud our team of prosecutors and analysts, who in coordination with our law enforcement partners, are continuing to make unparalleled progress in returning stolen antiquities.”  

Assistant US District Attorney Col. Matthew Bogdanos, who heads up the Manhattan Office's Antiquities Trafficking Unit, and who will be present at Monday's ceremony, has often related his department's work to an axiom of jurisprudence “that justice should not only be done, but should manifestly and undoubtedly be seen to be done.” R v. Sussex Justices, ex parte McCarthy, 1 KB 256, 259 (1924).  Something this publicly streamable restitution will undoubtedly demonstrate.  

Each of these objects should be viewed as a reminder to collectors, dealers, and art institutions, that the US authorities treat stolen cultural property seriously and public prosecutors continue to pursue the rightful return of plundered goods.

Christie's, London, 4 December 2019 Catalog Cover and Lot 481 – Description

Sidamara type sarcophagi were decorated in high relief on all four sides and usually placed in the centre of a tomb in an open burial ground so they could be viewed in the round. The decoration featured complex architectural designs with figures placed in arched niches separated by fluted columns. Despite their monumental dimensions and weight, they were exported all over Asia Minor and even to Greece and Italy, with several examples found on the coast at Izmir, which was probably the shipping point to the West. A Sidamara-type sarcophagus, similar to the present example, while no doubt sculpted in Asia Minor, was excavated near the town of Rapolla in Southern Italy, and is now in the Museo Nazionale del Melfese, in the Castle of Melfi. The type was also copied in the West, probably being produced by Asiatic sculptors who migrated to Italy.

While a review of the earlier Sotheby's, London, 11 December 1989 description for Lot 112 is pretty much the same in terms of origin, the sale entry had no provenance details listed whatsoever.

Sotheby's, London, 11 December 1989 Lot 112 - Description

And the Sotheby's, London, 11 December 1989 auction has other similar fragments including:

Lot 83

Sotheby's, London, 11 December 1989 Lot 83 - Image and Description

Lot 84

Sotheby's, London, 11 December 1989 Lot 84 - Image

Sotheby's, London, 11 December 1989 Lot 84 - Description

Lot 111

Sotheby's, London, 11 December 1989 Lot 111 - Image

Sotheby's, London, 11 December 1989 Lot 84 - Description

But let's take a closer look at who the dealer was who operated Atelier Amphora

The owner of Atelier Amphora was Mario Bruno, a prominent intermediary dealer, known to have handled illicit antiquities covering a swath of Italy in the 1980s and 1990s.  Before his death, in 1993, his name could be found, front and center, on many antiquities ancient art transactions from that period.  Several other objects with Atelier Amphora were also up for auction in the same December Christie's sale.

Bruno's first initial and last name also featured in the now famous Medici organigram.  Listed mid-way down the page on the left, the creator of the org chart listed the territories Bruno covered: Lugano, Cerveteri, Torino, North Italy, Rome, Lazio, Campania, Puglia, Sardinia, and Sicily.

Similar fragments from Sidamara type sarcophagi found at Sarkikaraagac in the district of Isparta and now located at the Isparta Archaeological Museum Image Credit: by Roberto Piperno https://www.romeartlover.it/Isparta.html

Image Credit : FBI

When US law enforcement agents raided the rural Rush county home of Don Miller in Indiana four years ago, the execution of that search warrant resulted in the largest single recovery of cultural property in FBI history. 

Native American arrowheads, points and projectiles from throughout the western United States
fossils
40 pre-Columbian artifacts
hundreds of terracotta vases
two fossilized eggs
an Egyptian sarcophagus
500 sets of human remains looted largely from Native American burial grounds
a life-size Chinese terracotta figurine
an Italian mosaic
a South American dugout canoe
a bear skin rug
carved boomerangs
coins
an 1873 Winchester carbine purportedly fired by a Lakota Indian at the Battle of Little Big Horn;
a Tibetan bell
jade, purportedly form the Ming Dynasty
bullet casings detected by a metal detector at Civil War battlefields
axes;
a chunk of concrete that Miller purportedly claimed was from the bunker in which Adolf Hitler committed suicide.

Image Credit: FBI

To adjust for this, the FBI has reached out to tribal authorities, academic experts, archaeologists and anthropologists for assistance in identifying the material.  Assisted by museum studies students, the objects were carefully documented, preserved and curated into what would later become an invitation-only digital archive, where the relinquished cultural artefacts can be viewed by experts working towards their restitution. 

Screen Capture:  FBI digital archive, Via FBI.

To help with the identification of human and archaeological remains from North America, the FBI also contacted all of the federally recognised Native American tribes, some 600 in total, for their assistance in determining material of their tribal origin. The authorities also hope to gain further assistance from governments around the world as well as from the indigenous tribes from outside North America.

Image Credit:  FBI

In pursuit of restitution, the FBI is asking official representatives of indigenous tribes and foreign governments that would like access to the archive to determine whether they have a claim to any of the recovered artifacts to contact the Bureau’s art theft program and submit a request via: artifacts@fbi.gov