Today in Italu, it was announced that the Preventive Measures Section of the Palermo Court of Appeal has overturned a sweeping asset confiscation order issued against Gianfranco Becchina, 85, the Sicilian-born antiquities dealer whose name has been at the centre of international art trafficking investigations for more than three decades. The preventive measures panel of the Court of Second Instance, (Italy's court of appeals), revoked entirely the order issued on 22 October 2021 and made public on 26 May 2022 by the Tribunal of Trapani.  

That ruling ordered the confiscation of a significant portion of movable, real estate and corporate assets "attributable to a well-known international trader of works of art and artefacts of historical-archaeological value" long suspected to have links with the Sicilian mafia, in and around the port town of Trapani,   This we know was Gianfranco Becchina and by extension his family.  Those assets were ordered seized on the premise that, according to the prosecution, the antiquities dealer had laundered illicit archaeological finds for the Matteo Messina Denaro clan of Cosa Nostra.

In delivering their 2026 reversal, the Court of Second Instance accepted the defence's appeals, concluding that no disproportion existed between the family's accumulated wealth and their declared legitimate sources of income, effectively ruling that Becchina's assets had been lawfully acquired.  But having said that one must remember that the Italian Judge Rosalba Liso dismissed all antiquities trafficking-related charges against Gianfranco Becchina due to the running of the statute of limitations in 2011.  

Judge Liso is also the judge who ordered the seizure of 5,919 of Becchina’s antiquities (seized in 2002 and 2009), holding that “from the evidence…it emerges that Becchina bought antiquities from tombaroli.” Addressing the antiquities themselves (both those seized and those depicted in the seized photographs), Judge Liso found that “all come from clandestine excavations conducted in Italy…[and that]…the copious documentation seized from Becchina definitely certifies that those objects come from clandestine excavations and excludes any legitimate provenance.”

While Judge Liso noted that a substantial portion of Becchina's wealth was generated through the sale of illicitly excavated antiquities, it should be underscored that it was the passage of time, rather than the absence of underlying misconduct, that limited the possibility of the Sicilian dealer's criminal prosecution, due to statutes of limitation.

Among the most symbolically significant assets returned under the ruling is the Palazzo dei Principi Aragona Pignatelli Cortes in Castelvetrano, an iconic landmark of the city's historic centre originally rebuilt in the sixteenth century and incorporating the Castello Bellumvider, a fortification commissioned by Frederick II in the twelfth century. Considered a monument of considerable architectural and cultural significance, this and other property has now been ordered returned to the family, eight years after their seizure in November 2017 by Italy's Anti-Mafia Investigative Directorate, through the Criminal and Preventive Measures Section of the Court of Trapani. 

Prosecutors had alleged, but according to the appellate court failed to prove, that Becchina laundered illegally excavated archaeological artefacts on behalf of the Messina Denaro crime family, whose patriarch, before his arrest and subsequent death, had been Italy's most wanted Mafia boss. The courts at both levels found the allegations of a relationship between Becchina and the Messina Denaro clan difficult to sustain. 

Even at the court of first instance, the Tribunal of Trapani had already rejected the Mafia association claim after reviewing the testimony of multiple informants, noting the generic nature of their statements and finding a "lack of certainty not only regarding affiliation, but also regarding specific unlawful conduct attributable to Becchina in support of Cosa Nostra."  That same tribunal had also established that the vast majority of artefacts stored in Becchina's Basel warehouses originated from Campania, Lucania and Puglia on the Italian mainland.

These findings are also borne out by examination of the Becchina Archive, which revealed that over 80% of the antiquities derived from Apulia and of the Apulian vases, over 90% were traceable to a single source within Becchina's network: convicted tombarolo and later intermediary trafficker Raffaele Monticelli, and were therefore unconnected to the Messina Denaro clan in Sicily.

It is worth noting, however, that the court's rejection of a formal Cosa Nostra connection does not discount the question of organised criminality in the antiquities trade, nor Becchina's alleged role within it.  Art crime investigators and cultural heritage scholars have long distinguished between two distinct, though sometimes overlapping, criminal ecosystems.

The first comprises Italy's primary poly-crime-oriented syndicates, the hierarchical organisations most commonly associated with the structured Mafia model. These groups maintain formal leadership, internal codes of conduct, long-term territorial control, and well-established codes of silence. They are, in the broadest terms, powerful transnational clans that extort, tax, or directly control criminal operations across territories with distinct geographic origins and international reach. 

The most prominent of Italy's Organised Crime Groups (OCG) is the Cosa Nostra, which despite sustained pressure from law enforcement continues to maintain its territorial grip on Sicily, adapting constantly to evade scrutiny and remaining the most historically recognisable and publicly emblematic of the Italian mafias. 

The 'Ndrangheta, rooted in Calabria and built upon blood ties and tightly-knit family clans known as 'ndrine, has grown into arguably the most formidable of the four, having expanded into the most countries and dominating Italy's cocaine trade through networks stretching across South America and West Africa. 

The Camorra, operating primarily out of Naples and Caserta, functions through a volatile mixture of large cartels and smaller, more fractious clans engaged in drug trafficking, extortion, and illicit financial schemes, with profitable operations extending across Spain, France, the Netherlands, Germany, and Dubai. 

The Apulian crime groups, namely the Sacra Corona Unita, the Società Foggiana, the Camorra Barese, and the Gargano Mafia, evolved from their origins in cigarette smuggling into a broader criminal portfolio encompassing human trafficking, drug and weapons running, as well as illegal waste disposal, with networks present in the Netherlands, Germany, Switzerland, and Albania.

Heritage-crime criminal ecosystems, by contrast, are more loosely structured. Often, they consist of temporary collaborations among tombaroli (clandestine diggers), middlemen, couriers, restorers, and dealers who cooperate in specific territories in relation to specific transactions.Taken together, however, these actors form a sophisticated supply chain fully capable of functioning as a form of organised crime in its own right. 

Unlike traditional Mafia-styled OCGs, most antiquities trafficking OCG networks lack formal leadership structures, initiation rituals, or territorial monopolies enforced through violence. Instead, they rely on highly specialised divisions of labour, shared financial incentives, and the complicity, or at the very least the indifference, of segments of the international art market that have historically looked the other way regarding the illicit origins of the objects they traded.

The consequences of that indifference is severe. Over several decades, well-developed supply chains have enabled the large-scale, systematic removal of archaeological material from some of Italy's most significant cultural landscapes. Looted objects flowed steadily from easily exploited heritage-rich sites to storage facilities, freeports, and private galleries, where they were laundered using  fabricated collecting histories and sold onward to major Western museums and private collectors. 

It is within this framework that law enforcement and art crime researchers have directed sustained attention toward the activities of Gianfranco Becchina.  Rather than viewing him solely through the lens of his Mafia contacts, many analysts position him as a central and well-connected node within a commercially motivated antiquities trafficking network. In this role, the Sicilian dealer functioned as a high-level intermediary whose gallery connections and market relationships enabled large numbers of illicitly excavated antiquities to enter the legitimate international art market, contributing significantly to the long-term exploitation of Italy's archaeological heritage.

Originally from Castelvetrano and for many years resident in Switzerland, Becchina operated for decades within the international art and antiquities market, and his name appears repeatedly across multiple investigations into the illicit trafficking of antiquities sourced from Italian territories. Investigators allege that over roughly thirty years he accumulated his wealth through the proceeds of international trafficking in archaeological artefacts, many of which had been clandestinely looted from sites throughout southern Italy where his cordata operated.

The scale of the damage is reflected in the volume of significant objects that have since been repatriated. Through what investigators describe as a lucrative criminal enterprise, Becchina supplied several important antiquities to the J. Paul Getty Museum and other American artistic institutions, works that have since been restituted to Italy. 

Among the more notable returns, some of which have been discussed on this blog, are the Paestan red-figure calyx krater painted and signed by Asteas, the Sarcofago della Bella Addormentata, a grouping of helmets later gifted to the Metropolitan Museum of Art, and an important  black-figure kalpis depicting the myth of Dionysus being kidnapped by pirates whom he transforms into dolphins. These objects are just a few of the numerous works circulated by Becchina and traced through documentation seized by the Italian heritage crime authorities, which helped art crime analysts reconstruct the full extent of the network and actors involved in funnelling artefacts from Italian soil onto the international antiquities market.

This month's appeals ruling in Becchina's favour does not erase any of that contested history. 

As recently as February 2025, the United States returned 107 archaeological artefacts, collectively valued at $1.2 million to Italy, items identified through ongoing investigations as having been looted and illicitly exported by traffickers including Becchina. Among the recovered objects was a fourth-century BC bronze patera that had passed through Becchina's hands before reaching a New York antiquities dealer and eventually being seized by Manhattan's Antiquities Trafficking Unit. 

The appellate ruling likewise does not address the broader international record of illicit artefacts connected to Becchina's operations that have been recovered by law enforcement agencies over the past two decades, nor does it resolve the wider question of how a sophisticated, decentralised criminal network trading in looted antiquities, operated quite apart from any single organised crime family, and was able to function effectively for decades.

The consequences for Italy's archaeological heritage has been devastating and, in numerous instances, permanent. Sites cannot be unlooted. Context, once destroyed, cannot be restored. The historical knowledge embedded in the ground alongside these objects fenced to Becchina is gone forever.

What makes this court ruling especially difficult to reconcile is the striking disparity in how the law treats different categories of organised crime. Those convicted of Mafia association in Italy routinely face lengthy custodial sentences, with the full weight of anti-racketeering legislation brought to bear against them. 

Those caught participating in the trade in looted antiquities, by contrast, have historically faced far more lenient consequences, despite the fact that the harm they inflict on the collective cultural memory of a nation is, by any meaningful measure, quite serious. Until the legal frameworks governing cultural property crime begins to reflect the true scale of that harm, the gap between the severity of the offence and the severity of the punishment will continue to undermine the protection of the world's shared archaeological inheritance.

By:  Lynda Albertson

DIA Seizing Gianfranco Becchina assets in 2017

While the DIA's announcement didn't name the, now, 83 year old dealer living in Castelvetrano, the regional newspapers in Sicily, and the national newspaper in Rome, did. 

For decades the Trapani branch of the Cosa Nostra is believed to have accumulated at least some portions of its wealth through the proceeds of illicit archaeological finds.  Some of which, according to Italy's DIA may have been procured through grave robbers working at the isolated Archaeological Park of Selinunte, one of Sicily's great ancient Greek cities, located near Castelvetrano probably in the service of the Cosa Nostra.  This archaeological site covers some 40 hectares and includes Greek temples, ancient town walls, and the ruins of residential and commercial buildings from Italy's past.  Given its remote location, much of the site has not been formally excavated, and it has been prey to opportunistic looters for decades.

To further dismantle the mafia's operational funding in and around Trapani, in November 2017 Italy's Anti-Mafia Investigative Directorate, through the Court of Trapani's penal and preventive measures section, filed an initial seizure order for all movable assets, including real estate and corporate enterprises attributable to Gianfranco Becchina on the basis of an order issued from the District Attorney of Palermo based upon investigations conducted by the DIA, under the coordination of the Palermo Public Prosecutor's Office on the basis that much of Becchina's accumulated wealth was generated through the proceeds of trafficked antiquities. 

Palazzo dei Principi Tagliavia-Aragona-Pignatelli

Giovanni Franco Becchina (b. 1939) was born in Sicily. In the 1970s, he established a business, Palladion Antike Kunst, in Basel, Switzerland, with his wife Ursula.  For almost forty years Becchina headed one of Italy's most notorious “cordata” (a trafficking cell) in a lucrative criminal enterprise that used gangs of tombaroli to loot carefully chosen and insufficiently guarded archaeological sites throughout southern Italy.

It is well-documented that Becchina and other traffickers like him, laundered their looted antiquities through exhibitions at museums and in private collections with manufactured provenance, providing a thin veneer of respectability to material removed from Italy and laundered through the ancient art market. 

In 2001, Becchina was arrested in Italy and charged with receiving stolen goods, illegally exporting goods, and conspiring to traffic goods. In May 2002, the Swiss and Italian authorities raided Palladion Antike Kunst and three of Becchina’s located storage facilities.  A fourth was raided in 2005. 

In 2011, Judge Rosalba Liso dismissed the charges of receiving stolen goods, illegally exporting goods, and conspiring to traffic goods, due to the expiration of the statute of limitations.  However, the Judge in the case confirmed the seizure order for the 5,919 antiquities Becchina had in stock at the time the 2002 and 2005 search warrants were executed.  Material evidence obtained during these seizures confirmed that Becchina bought antiquities directly from tombaroli. Over 90% came from a single source: convicted tombarolo (and later a capo squadra in his own right) Raffaele Monticelli.

Image Credit - HSI - ICE

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

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

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

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

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

But has it? 

The aforementioned ICOM document clearly states: 

4.5 Display of Unprovenanced Material

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

8.5 The Illicit Market

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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and lastly,

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

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

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

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

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

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

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

Image Credit - HSI - ICE

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

Image Credit - HSI - ICE

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

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

By:  Lynda Albertson