As Bulgarian authorities work through how to get their fugitive gambling tzar extradited from the UAE to stand trial, the cultural heritage community is crossing their fingers that the country's cultural ministry will (eventually) release a list of the nearly 3,000 artefacts which make up the art and antiquities previously purchased by the business mogul.  But to understand the current state of affairs as it is related to their sequestration, it is necessary to first understand the standing of private collections within this former Soviet-led Eastern Bloc country. 

In the past, Bulgaria's April 1969 Law on the Monuments of Culture and Museums (LMCM), a carryover from the country's communist era, defined cultural objects holding market actors as government agencies, state-owned museums, private and legal individuals.  As such, the LMCM did not explicitly ban the private ownership of antiquities, but it left their legal status somewhat vague.  This allowed collectors, like Bozhkov, and others, to benefit from quasi-legalized private collections, which in Bulgaria seemed to be purchased to philanthropically polish the reputations of the controversial new rich.

Faced with a countryside increasingly devastated by archaeological pillaging throughout the 1990s and into the next century, Bulgaria's Ministry of Culture went on to adopt an amendment, Ordinance No.1 in 2005 on the procedure for the evaluation of declared cultural goods owned by legal entities or individuals.  The motivation for this new procedure stated that the implementation of the regulation was done in accordance with the obligations undertaken by the Bulgarian government with respect to their EU accession negotiations under negotiation Chapter 25, Customs Union.  It required that any legal entity or individual in possession of cultural property must complete and submit registration documents for each object within their collection, and for those documents to then be filed with the closest regional or specialized state museum. Unfortunately, despite its unifying intentions, the mandate set no fixed term deadline for an object's registration once purchased and again had gaps which further needed closing. 

Experiencing rampant looting and the moonscape-like devastation which occurred at the ancient Roman settlement of Ratiaria, Bulgaria adopted further stringent rules and legislation related to private collections, in part to address the loot-then launder-then-purchase cycle of plunder which had become a driving force in the market for Bulgaria's Thracian and Roman artifacts.  Revised in part to meet the new requirements corresponding to the rules of the European Union, the country's new Cultural Heritage Act (CHA) was adopted in March of 2009 and was subsequently put into force in April of 2009. This new law included stricter registration requirements and most importantly, the need to show demonstrable proof of legal ownership of objects.

Yet each tightening of restrictions continued to meet with resistance.  

Bulgarian coin collectors grumbled that the newly imposed paperwork was too costly and time consuming to compile for small dealers, i.e. those who make their livelihood off of the buying and selling of ancient ancient coins which are known to change hands frequently.  Likewise, wealthier collectors, already with established collections of costly ancient artifacts, complained that the rules did not allow for any sort of amnesty on prior acquisitions before the law was put in place. Some believed that the change in requirements favored those in political favor, and complained that even the country's own state museums could not pass the new stringent requirements now being required of them.  Privacy advocates also voiced suspicions that burglaries of private collections might be committed with the involvement of corrupt government officials who would, as a result of the new rules, have access to the property registration documentation of private citizens.

Which brings us back to the current state of Mr. Bozhkov's collection. 

Prior to the recent freezing of Bozhkov's assets the Thrace Foundation is believed to have successfully completed the applications for legalization for just 212 of Bozhkov's nearly 3,000 objects.  Many of these registered objects have been displayed in travelling exhibitions which have toured in Brussels, Moscow, and Sofia between 2005 and 2018. 

These objects, reportedly authorized by the Ministry of Culture, appear to have been registered as part of the private Vasil Bozhkov Museum which is said to be an independent legal entity. This entity "owns" the exhibits which make up the collection belonging to the Thrace Foundation, a non-profit organization, founded by Vasil Bozhkov in 2004.

It has been reported by some news agencies that the approximately 2700 remaining Bozhkov items have been declared with the government within the last ten years, and that the businessman applied for registration via the National Institute of Science, though no dates for these applications has been specified.  Even if the objects were dutifully declared, the bulk of the art and antiquities have not been formally evaluated to determine their origins or authenticity, nor has Bozhkov paid the 30 Bulgarian lev fee for each object's registration.   What should be noted however is that there is no deadline for paying this fee stated in the country's regulations, nor is there a deadline for the government to rule on an object's legitimacy, once it has been filed.  

Given that the objects have not yet been formally evaluated by heritage experts approved by the Ministry of Culture, is not clear at present how many of the artefacts in Bozhkov's private collection would meet the following Bulgarian two-step registration criteria. 

That identification/qualification process consists of two steps:  

Failure to establish an artwork or artifact's legitimacy via the above criteria, can result in the object's legal registration being withheld.   In some cases, said objects may be subject to seizure in favor of the state under Art. 278a (Last amendment, SG No. 27/2009 in force as of 10.04.2009) of the Penal Code which states:

(1) An individual who offers a valuable cultural artifact to the purpose of expropriation or expropriates a valuable cultural artifact which is not identified or registered, is imposed a punishment of imprisonment from one to six years and a fine from one thousand to twenty thousand BGN.

(2) The punishment is also imposed to an individual who acquire such cultural artifact.

(3) In the cases when the crimes under para 1 and 2 have been committed over again or are qualified as dangerous recidivism or they have been committed after an order or in implementation of a decision of an organized criminal group or they have been committed with the purpose the object of crime to be exported over the state border, the punishment which is imposed is imprisonment for a term from three to ten years and a fine from five thousand BGN to fifteen thousand BGN.

The gambler makes a case for buying antiquities to save them

Bozhkov himself is known to have admitted that not all of his antiquities would pass the country's registration sniff test.  In a 2005 interview with Bulgaria's daily newspaper Trud he unremorsefully confessed "I buy from people who buy from treasure hunters...I have more opportunities than the state."  He then justified his purchases by admitting "I am satisfied that I have at least somewhat limited the export of this wealth."   

By agreeing to purchase unprovenanced antiquities to develop his private collection and to fill his private museum, in furtherance of irresponsible collecting practices, Bozhkov and collectors like him, have continued to  incentivize destructive or clandestine excavations, feeding the demand for illicit goods. 

How big a demand?

Bozhkov's thirst for antiquities was large.  His collection of Thracian gold is believed to be larger than that held by Bulgaria's National Museum of History.  His collection is known to include three gilded silver vases representing Orpheus, situlae, several gold wreaths from Thracian rulers, gold funeral masks, kylix, lekanes, epichysis, oinochoi, phialae, a silver kantharos with an image of Theseus, and at least ten silver rhytons.  And that is just representative of some of what we know from the exhibitions of his collection to date. 

For now, it remains unknown which, if any of his purchases will eventually be restituted to the state on the basis on illicit origin, or, in the case of licit purchases, might be lawfully returned to Bozhkov after the conclusion of the state's current assessment. His collection might also be subject to criminal forfeiture by means of confiscation should he be convicted of the charges he is facing and should it be proven that the art and antiquities were acquired through the proceeds of crime. 

By:  Lynda Albertson

The National Museum of History (NIM) has received a prosecutorial decree and a letter from the Ministry of Culture to seize and accept the art and antiquities collection of Bulgarian gaming czar Vasil Bozhkov.  This court order, along with seizure orders pertaining to his business assets, accompanies charges stemming from an investigation into allegations of serious financial violations within the gambling industry.  Filed on 29 January 2020 by the country's Prosecutor General, Ivan Geshev, the post-communist era mogul has been indicted in absentia for a series of offenses ranging from leading an organized crime group, incitement to commit criminal offenses, extortion, coercion, blackmail, and attempted bribery of an official. 

Believed to be the country’s richest man, Bozhkov has been referred to as Bulgaria's most infamous gangster, and as being reportedly active in money laundering, privatization fraud, intimidation, extortion, racketeering, and illegal antiqueè [sic] dealing as attested in a diplomatic cable of the US Embassy in Sofia, as far back as 11 September 2009 and released publically via WikiLeaks.  As owner of the country's biggest lottery,  Bozhkov has often been linked in the Bulgarian press to the Bulgarian mafia, but up until now, he has never been convicted of any crime. 

Bozhkov's ancient art collection consists of more than 3,000 antiquities and dates from 4,000 BCE though the 6th century CE.  With questionable provenance and transparency in their acquisition, the assembled objects, some of which can be viewed in the film below, include ancient treasures left by the Greeks, Macedonians, Romans, Byzantines, Bulgars, and Thracians, one of the most powerful Indo-European tribes of the ancient world, and one who played an important, creative, and key role in the shaping of European civilization as a whole and Bulgaria's culture in particular. 

Bozhkov also founded the Thrace Foundation in 2004, perhaps to lend credibility to his seemingly controversial collection and began holding exhibitions at various locations throughout Europe thereafter.  Marking Bulgaria's entry to the EU in 2007, his Brussels exhibition, "The Grandeur of Bulgaria" was abruptly terminated at the European Parliament following outraged complaints about the collections origins. One of the most vocal critics was Vassil Nikolov, then director of the National Archaeological Institute with Museum at the Bulgarian Academy of Sciences and president of the state committee responsible archaeological surveys throughout the country. He signaled out the Bozhkov exhibition as "the fruit of grave-robbing." 

Private collections such as this one in Bulgaria, are often deemed unacceptable, given they are established without concerns for the the provenance of the objects  accumulated and against the backdrop of rampant treasure hunting which is actively eviscerating Bulgaria’s tremendous historical and cultural heritage.

Trying to get ahead of this week's growing scandal, the Thrace Foundation issued an interesting one page press release while their founder remained missing.  Via email, the press release, sent to ARCA and others in the heritage protection community, stated that the authorities had stormed into the laboratory and museum of Thrace Foundation. Their press release read in part:

The Prosecutor’s Office has denied the accusations that Bozhkov’s collection was being mishandled, with the National Museum of History (NIM) reporting that nine museum staff members are involved in the process of packing and transporting the items.

Charged in absentia, Bozhkov's current whereabouts were unknown at the time of this articles writing.  The last flight of his private jet was from Sofia to Dubai.

UPDATE 2 February 2020: Bulgarian Prosecutor General Ivan Geshev, confirms that Vasil Bozhkov, who is the subject of a European arrest warrant, has been detained in the United Arab Emirates.  Bulgaria will now prepare a formal extradition request for his return to Bulgaria to face charges, but given that the U.A.E. and Bulgaria do not have a bilateral extradition agreement, the wait for his return, may stretch indefinitely.

With at least nine people wanted by the Italian judiciary in the UAE, on charges including mafia association, money laundering, drug trafficking, and tax fraud,  the country has become a well-known refuge and money laundering paradise for criminals with big bucks.  Avoiding extradition when its own bilateral agreement was not signed, Raffaele Imperiale, who hid two stolen Van Gogh paintings in one of his family's homes, has avoided his own convictions in absentia for more than ten years.  

Imperiale supplied weapons for a clan feud in the drug ravaged Scampia neighborhood of Naples, working within the drug trade with criminal Rick van der Bunt, who was liquidated in Spain in 2008. Imperiale has been spotted at the seven-star Burj al Arab hotel in Dubai with others who are believed to control the European cocaine trade.

By:  Lynda Albertson

The Mexican government, through its Secretaría de Relaciones Exteriores (Ministry of Foreign Affairs) and its Ministry of Culture, have formally challenged the auctioning of 95 pieces of pre-Hispanic origin.  In doing so, they are calling upon French auction house Millon Drouot to halt its sale of the Manichak and Jean Aurance Collection of Pre-Columbian art which is scheduled to take place today and includes some 130 pre-Columbian art objects.  

During a press conference, the Mexican Ambassador to France, Juan Manuel Gómez-Robledo, indicated that a concern was lodged on September 12, 2019 by Mexico's National Institute of Anthropology and History, the competent authority in the matter asking that the auction be cancelled and that the objects in the collection contested restituted to the country. 

Raising their concerns about the provenance of the pieces, the Mexican authorities allege that some of the artifacts appear to have been stolen and/or illegally exported. Concerned with their status, María del Socorro Villarreal Escárrega, national coordinator of legal affairs for Mexico's National Institute of Anthropology and History stated that the INAH has filed a corresponding complaint with the Prosecutor's Office General of the Republic, collaborating with diplomatic authorities in order to seek the restitution of the objects. 

Commenting on authentic pieces up for auction Escárrega added that "these pieces have been decontextualized, they come mostly from clandestine excavations, without any scientific rigor, and that already implies destruction to cultural contexts and looting; (implies) that we lose reference of the cultural place and that these pieces become decorative objects, but the social and temporal context is lost, and that affects the reconstruction of history and favors the loss of our heritage."  Escárrega also reported that it is believed that some 20 pieces in the auction "could be of recent manufacture, although they are announced as pieces of archaeological value".

In their formal statement, Mexico’s Foreign Ministry stated that 95 of the 120 objects up for auction appear to be from early Mesoamerican complex civilizations such as the Olmec, which inhabited the Gulf Coast territory of Mexico extending inland and southwards across the Isthmus of Tehuantepec, from 1600 BCE until 350 BCE and the Maya who assimilated Olmec influences into the emerging the city-states of the Maya civilization.  

According to the Millon catalog, and the Antiques Trade Gazette collectors Manichek and Jean Aurance purchased their first pre-Columbian artwork in 1963 from the French dealer Olivier le Corneur who operated Galerie Le Corneur-Roudillon.  They continued purchasing tribal art  for their Art Deco lakeside home in Vésinet from le Corneur, Henri Kamer, Pierre Langlois, René Rasmussen and Charles Ratton.  Some of those pieces seem to have passed through Los Angeles art dealer Earl Stendahl.

Earlier last week Guatemala confirmed that following their own formal protests on August 28, 2019 Millon had suspended the sale, at least for a while, of one of the pre-Hispanic pieces up for auction.

Lot 55 -  A stone relief depicting the Spearthrower Owl, was discovered by Teobert Maler in 1899 and dates to 700 CE.  It was stolen from the powerful city-state of Piedras Negras in the remote northwest area of the Department of Petén in Guatemala's Sierra del Lacandón in the 1960s.

Drawing from CMHI v. 9-1.

According to UT-Austin archaeologist and Mesoamerican art historian and epigrapher, Dr. David Stuart, who first reported (in English) about Guatemala's Ministerio de Cultura y Deportes' efforts  to stop the sale in late August, the disputed stolen relief is a portion of Stela 9 found by Teobert Maler at the ruins if Piedras Negras in 1899 on the large terrace to the east of Structure J-3, and originally placed between Stelae 10 and 40.

Allowing time for the seller, the State of Guatemala and Millon to discuss the contested object and the legality of the sale in France, Drouot Paris issued the following comment on Twitter, hinting that the sale was a legitimate one, despite the crime of removing it from the territory.

To allow amicable negotiations between the seller & Guatemala, lot n°55 of Millon’s auction at Drouot is withdrawn from the sale.

— Drouot (@Drouot) September 11, 2019

In cases of property dispute, French law, articles 2274 and 2262 of the Civil Code, tend to prefer the bona fide purchaser, in their purchase of a stolen or misappropriated movable object over that of the victim, which in this circumstance is Guatemala and Mexico.   French Law provides that title can be obtained by a good faith purchaser by way of prescription after 30 years.
As of the writing of this article, neither the consignor nor Millon has not announced a response to the Mexican government's request. 

By:  Lynda Albertson

Engraving of Christie's auction Rome, "The Microcosm of London" (1808)

As the start of Christie's Exceptional Auction began on Thursday evening, the auctioneer present made an clipped announcement.  Those bidding on Lot 110, the 3000 year old Egyptian quartzite head of Tutankhamun portrayed as the god Amun, had to be registered bidders, a codicil she did not apply to other individuals bidding on remaining lots on offer last night.  Quickly, in less time than it takes a grim-faced Brit to drink a cup of tea, Christie's sold one off one of the most controversial items to pass through its doors.

The hammer price for the Egyptian head, a neat £4 million plus buyer’s premium, relevant fees. 

But this is not the only time that the firm has refused urgent appeals from source countries and concerned parties to remove items from auction.   

In one 2009 incident China’s State Administration of Cultural Heritage (SACH) protested the sale of a group of bronze animal heads, which once adorned a water clock fountain in the Chinese emperor's Summer Palace. These Chinese zodiac sculptures, on sale at Christie's in Paris, were part of the collection of Yves Saint Laurent and his partner Pierre Bergé.  As the auction's presale advertising began to gather momentum, it was announced that the bronzes had been plundered during the Second Opium War which pitted the United Kingdom and the French Empire against the Qing dynasty of China in 1860. 

Hinting that the failure to withdraw the objects would have “serious effects” on Christie’s interests in the pronounced concerns, the source country applied pressure for the object's restitution. When that failed to achieve any desired results, a motion was formally filed through the Association for the Protection of Chinese Art in Europe (APACE) backed by a group of signatories hoping to block the sale through legal action via through the Tribunal de Grande Instance in Paris. 

Unfortunately in that case, basing their decision on  French law, there were no legal measure available to the source country, so the legal case went nowhere as French law, based on Napoleonic law,  allows a purchaser to obtain valid title to stolen cultural property if said purchaser acted in good faith and exercised due diligence. Given the length of time between plunder and sale, it was determined that Pierre Bergé, as well as those who owned the artworks before him, had each acted in good faith when purchasing the Chinese booty.

Left with no other option but to buy back their own art back, Chinese art dealer Cai Mingchao purchased the statues during the auction pledging to pay some € 28,000,000 and then sabotaged the sale by refusing to pay.  Later he admitted that he had placed his bid solely “to disrupt the sale of the items.”

The fact that registered buyers now sign agreements obligating specific responsibilities when they bid appears to be the reason for Christie's announcement requiring that all bidders on Lot 110, the Egyptian disputed antiquity, be formally registered.  By doing so, it thwarted any possibility of patriotism getting in the way of payment.

In the end, Christie's made a tidy sum off of Egypt's sorrow.  By ignoring Egypt's request for information as to the object's legitimacy, it also proves that their sensitivity to a source nation's plunder and looting is far more shallow, than their client's incredibly deep pockets.

By:  Lynda Albertson

Shaaban Abdel-Gawad

By Edgar Tijhuis 

When a civil war starts in a country, everyone and everything pays a price, including heritage.  In response to this ARCA initiated its Minerva Scholarship in 2015 in order to allow heritage professionals from the conflict countries of Iraq, Libya, Syria and Yemen to train with us as a means of analysing criminal behavior which affect the security of movable cultural heritage during times of conflict.  This ARCA scholarship has allowed participants from Middle East source countries to come to Amelia for ten weeks and to learn from ARCA instructors as well as share their experiences with other heritage peers.  Minerva scholar's time in Italy also serves to build capacity between source and market country experts as they also on hand to share their own very valuable insight and experience in protecting their country's heritage, oftentimes under extremely difficult conditions.  

This year, in 2019, with funding obtained through a successful crowdfunding campaign, ARCA has been able to extend its Minerva scholarship initiative to an important post-conflict country, Egypt. During our 11th year of producing training programs we are pleased to have welcomed Shaaban Abdel-Gawad, as our first Minerva scholar from Cairo. To hear more about him, and his plans during his time in Italy, I sat down with him at one of the local coffee bars in Amelia, right in front of the old Medieval gate, which overlooks some of the city's Neolithic walls which circle the old town in order to ask him a few questions about his work and career.

Can you tell me something about your work in Egypt?

In Egypt, I am the head of the antiquities repatriation department. The department was founded in 2002 and I have been the department's head for the last four years. Since the start in 2002 over 10.000 pieces have been repatriated, most of them in the last four years. We work in different ways to achieve these results and to protect our heritage as best as possible. First of all, we collaborate with the authorities in market countries, for example through bilateral agreements like the 2010 agreement with Switzerland concerning the illicit import and transit of antiquities.  Also through the 2016 Memorandum of Understanding (MOU) with the United States, the first of its kind for the US with a Middle Eastern country. Under these agreements and other bilateral and formal agreements we have also collaborated with Italy, France, Switzerland, Spain, and the UAE, and when objects are seized abroad, we check all documents and decide what can and should be done.

Images of the sarcophagus recovered from Kuwait in 2018

Furthermore, we have several officers who systematically scan all planned sales of all major auction houses, online platforms like Ebay, Facebook and other channels that can be used to sell antiquities these days.  Online we find many fakes, but between all the fakes, there are also real antiquities that are sold illegally. An example of this is the case of the relic that was recently offered for sale at a London auction. The relic — a tablet carved with the cartouche of King Amenhotep I — has been recovered by Egypt, after the websites of international auction halls were scoured.

Well, one needs to go back in time a bit to at least 1911. * In that year the first Egyptian law on antiquities was adopted. It said, among other things, that foreign excavation missions could take half of the excavated objects out of Egypt. In 1951, a new law was adopted. ** Under this law export licences were required for every single object leaving Egypt and unique objects were never allowed to leave the country. Finally, in 1983 the current antiquities law was introduced. Under this law, antiquities cannot be exported anymore from Egypt.***

Are there any recent examples of repatriation of antiquities to Egypt? 

There are many and I will mention a few. After the relic in London in January of this year, we had the case of the gold-sheathed coffin from the 1st century BC. It was recovered in the United States where it had become part of the collection of the The Metropolitan Museum of Art in New York. According to a statement by the museum which purchased the coffin, inscribed with the name Nedjemankh, a priest of the ram-god Heryshef, in July 2017. Per the investigative work of the Assistant District Attorney in Manhattan, the museum learned that it had received a false ownership history, fraudulent statements, and fake documentation, including a forged 1971 Egyptian export license for the coffin. The museum handed the coffin over to the authorities after evidence showed that it was looted from Egypt in 2011.

In February of this year, another case was handled by Shaaban. Egypt’s embassy in Amsterdam received a 2500-2000 B.C.E Pharaonic limestone statue of a standing man with hieroglyphic marks on the right arm.  The object had been consigned to an auction house in the Netherlands and was scheduled to be sold at the European Fine Art Fair in Amsterdam.  The Ministry of Antiquities, in cooperation with the Ministry of Foreign Affairs, succeeded in proving Egypt’s ownership of the archaeological piece and its illegal removal from the Saqqara area of Egypt sometime in the 1990s.

This month, in an important case which is still developing, the Egyptian authorities are working to stop the auction of a quartzite sculpture of Tutankhamun through Christie’s auction house in London.  This important piece is scheduled to go up for bidding in early July and the Egyptian authorities have raised concerns that the object may have been stolen, possibly from Karnak, an extraordinary complex developed over more than 1,000 years ago made up of sanctuaries, temples, chapels, pylons, and other buildings near Luxor. 

While it remains uncertain whether the Egyptian authorities will be able to successfully claim the object back, Shaaban and his team are diligently pursuing leads and have pointedly asked the auction house to provide the Egyptian authorities with all of the documentation they were given by the consignor in furtherance of the sale.

So far Christie's has continued to state the object is legitimate but has withheld the requested documentation.

How did you hear about ARCA and the Minerva Scholarship? 

When I was in Sudan for an UNESCO workshop Effective implementation of the 1970 Convention for the prevention of illicit traffic of cultural property and of the UNESCO 2015 Recommendation on museums and collections in the Cluster countries I met Samer Abdel Ghafour. Samer completed the ARCA program in 2015 as a Minerva scholar from Syria before moving on to consult with the UNESCO Secretariat within the Section for Movable Heritage and Museums, at the Unit for the 1970 Convention. So I applied and in the end was chosen to come to Italy.

From Cairo to Amelia, that must be a big change….

Yes, it surely is. Cairo is a city with around 20 million inhabitants and Amelia a little town. But actually, I grew up in a village in Egypt and worked a lot at archaeological sites outside the cities. Italian life is Mediterranean, and in many ways similar to our culture in Egypt. The people in Amelia are very friendly and welcoming, and they ‘talk with their hands’ like we do in Egypt. There is even an Egyptian shop in Amelia! Furthermore, I enjoy the company of the ARCA staff and my fellow participants in the program, who come from all over the world. I think it’s great that this special town was chosen to host the program.

Do you see any similarities between Italy and Egypt? 

Yes, there are some interesting parallels between our countries. While we are both source countries of antiquities, we also play a role in educating other countries. We have helped countries like Libya, Uzbekistan, China, Yemen and Iraq to deal with the problem of antiquities looting. And we have seized objects from Italy in Egypt, as well as objects from several other countries that went through Egypt as a transit country.

What do you expect to learn during the program? 

I expect to learn how other countries work in this field, learn more about the laws regulating the antiquities trade and establish an international network for the future.

More about Minerva Scholarships….

ARCA's Minerva scholarship is set aside to equip source country professionals with the knowledge and tools needed to build or improve heritage protection capacity at their home institutions and to advance the education of future generations. Scholarships are awarded through an open, merit-based competition, subject to available funding.

Accepted candidates must be able to speak and write, in English, at a university level proficiency. Those who do not, cannot be considered as all courses are taught in English. Beneficiaries of the Minerva will be granted a full tuition waiver to ARCA’s intensive professional development postgraduate program which runs annually in Amelia, Italy.

For further information about this multidisciplinary program and/or to request a prospectus/Minerva application form please if you are from a conflict or post conflict country, please write to us in English at education @ artcrimeresearch.org.

* Finalized on 12/6/1912 Law nr. 14 established that all antiquities found in Egypt belonged to the State, and forbade the selling of them, unless they were already part of a collection or coming from legal excavations, recognised by the State.  This law prohibited the export of antiquities from Egypt to other countries, except through a special license which only the Antiquities Department was entitled to grant or withhold.  This article further stipulated that any antiquity, illicitly removed from the territory was subject to seizure and confiscation. 

**Finalized on 31/10/51 Law nr. 215 amended by laws nr. 529 of 1953 and nr. 24 of 1965 enacted provisions which made penalties harsher for the theft and smuggling of antiquities. The law prohibited taking antiquities out of Egypt unless there were multiple items similar to them, and then solely with the approval of the Department of Antiquities, who meeting by a committee formed of museum personnel in the presence of a representative of the department of customs, could issued a license approving an object's exportation.  Failure to have obtained such a license implies that the antiquity in question was stolen or smuggled from Egypt.

***Enacted 06/08/1983 Law nr. 117 of 1983, emended in 2003 abolished completely all export of antiquities outside of Egypt.

Who studies art crime?

ARCA's Postgraduate program in Art Crime and Cultural Heritage Protection is now accepting applications.

Early applications will be accepted through 30 November subject to census limitations. 
In 2009, ARCA started the very first interdisciplinary program to study art crimes wholistically.

Designed to give participants a unique opportunity to train in a structured and academically diverse format, ARCA's summer-long postgraduate program was designed around the study of the dynamics, strategies, objectives and modus operandi of criminals and criminal organizations who commit a variety of art  related crimes.  

Turn on the news (or follow this blog) and you will see over and over again examples of museum thefts, forgeries, antiquities looting and illicit trafficking of cultural goods.  Intentional heritage destruction and religion-based iconoclasm during armed conflict, once a modern-day rarity, has affected multiple countries and adds to regional instability in many areas of the globe.


Looted art, both ancient and Holocaust-related, can and often does find its way into the world's premiere auction houses and the galleries of respected museum institutions while dealers working in the field continue to be less than adept at distinguishing smuggled and stolen art, from art with a clean provenance. Thus making dealing with art crime an unrelenting problem and one without any easy solution.

Taken incident by incident, it is difficult to see the impact and implications of art crime as a global concern, but when studied across disciplines, looking at the gaps of legal instruments, country to country, one begins to have a clearer picture of the significance of the problem and its impact on the world's collective patrimony.

The world's cultural heritage is an invaluable legacy and its protection is integral to our future. 

One summer, eleven courses.

At its foundation, ARCA's summer-long program in Italy draws upon the overlapping and complementary expertise of international thought-leaders on the topic of art crime – all practitioners and leading scholars who actively work in the sector. 

In 2019, participants of the program will receive 220+ hours of instruction over 11 courses taught by a range of experts actively committed to combatting art crime from a variety of different angles.

For more information on the summer 2019 postgraduate professional development program, please see ARCA's website here.

To request further information or to receive a 2019 prospectus and application materials, please email:
education (at) artcrimeresearch.org

Interested in knowing more about the program from a student's perspective?

Here are some blog posts from and by students who have attended in 2016, 2015, 2014, and in 2013.

Two months into the new year brings with it two significant repatriations for objects stolen in Italy and illegally transferred for sale on foreign art markets.  Both artworks, an oil painting and a marble statue, were discovered during auction sales, despite having been stolen in Italy. 

This week a 17th century Italianate landscape, attributed to either Giovanni Paolo Pannini (1691-1765) or Andrea Locatelli (1695-1741), has made its way home to Italy.  

Donated in 1892 by the Italian noble Torlonia family, the oil painting was stolen on January 1, 1994.  In November 2017 the artwork was identified by the Italian authorities when it came up for sale at a London auction house. Its starting bid: 40.000 GBP.

At some point the painting appears to have passed through the hands of the Roman branch of the London auction house, before being transferred to London for sale.  Under Italy’s Cultural Heritage Code any artwork created more than fifty years ago (i.e. before 1947 in this case) by a deceased artist requires an export licence in order to be exported.  No information has been released by the Italian authorities as to if the consigner provided the auction house with such a document and if so, if that document was valid or fabricated.  

After this week's press conference, the painting will be returned to the Ministry of Cultural Heritage and Activities and Tourism and reintegrated into the collection of the Galleria Nazionale d'Arte Antica where it will go on display at either the the Palazzo Barberini or the Palazzo Corsini. 

One month earlier, on January 30, 2018 the Carabinieri reported that a first century CE marble sculpture depicting the torso of the goddess Aphrodite had also been repatriated to Italy.  This marble statue, with an estimated value of €300.000 had been stolen in 2011 from the University of Foggia and was identified by Italy's Comando Carabinieri per la Tutela del Patrimonio Culturale for sale in Munich Germany in 2013. 

In the scope of a lengthy investigation, Italian and German authorities identified identified an organized smuggling ring, operating between Italy and Germany, where looted antiquities plundarded from Italy passed from the hands of a looter, through a  middleman, who carried out the deliveries abroad, on to the individual in Germany who sold objects to collectors interested in antiquities in Germany. 

In 2016, when those involved in this trafficking operation were taken into custody, more than 2,500 objects were seized which had not yet made their way to Germany.   The statue of Aphrodite, was returned to Italy via international letters rogatory and with cooperation from the German authorities as well as the Public Prosecutor's Office of Rome.