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October 10, 2013

Thursday, October 10, 2013 - , No comments

The Holocaust Art Restitution Project (HARP) and the Ciric Law Firm, PLLC Sponsor Art Law CLE Program: Due Diligence in Cultural Heritage Litigation: Is There a Minimum Threshold?


Friday, October 11, 2013
8:00 AM to 1:00 PM (PDT)
Leo Baeck Institute | 212-294-8301
15 W 16th St
New York, NY 10011


This course will discuss the current legal standard defining due diligence, its limitations, and the varied approaches attempting to address due diligence requirements in the market, and provide a suggested framework and associated checklist to satisfy due diligence requirements in provenance research for cultural objects.  The courts have the means to enforce proper ownership rights of current possessors, good faith purchasers, and rightful owners, yet the market is encountering significant challenges in implementing due diligence standards to comply with legal requirements and stabilize the trade.

SCHEDULE
8:00am-8:45am: Welcome/Sign-in
8:45am-8:50am: Introduction
8:50am-10:05am: Have You Done Your Due Diligence?
10:05 am-10:15am: Break
10:15am-11:30am: Is Context Everything?
11:30am-11:40am Break
11:40pm-12:55pm: Do Your Research-Your Provenance Research
12:55 pm-1:00pm: Conclusion

SPEAKERS
Sharon Levin-Chief of the Asset Forfeiture Unit in the Criminal Division of the United States Attorney’s Office for the Southern District of New York
Charles A. Goldstein-Herrick, Feinstein LLP, Member, Art Law Group
Lawrence M. Kaye-Herrick, Feinstein LLP, Co-Chair, Art Law Group
Monica Dugot- Christie’s, Senior VP, International Director of Restitution
Lucian Simmons-Sotheby’s, Senior VP of Sotheby’s in New York, Head of Sotheby’s Worldwide Restitution Team
Victoria S. Reed-Museum of Fine Arts, Monica S. Sadler Curator for Provenance
Lucille A. Roussin- Ph.D-Law Office of Lucille A. Roussin; Adjunct Professor at Cardozo School of Law
Irina Tarsis-Center for Art Law, Attorney at Law, Consultant, Program Coordinator
Ori Z. Soltes-Holocaust Art Restitution Project, Co-Founder
Marc J. Masurovsky-Holocaust Art Restitution Project, Co-Founder
Pierre Ciric-The Ciric Law Firm, PLLC

CLE CREDITS (Accreditation Pending)
4.0 (1.5 - Ethics & Professionalism; 1.0 - Skills; 1.5 - Areas of Professional Practice) 

October 3, 2013

Thursday, October 03, 2013 - ,, No comments

After decade-long fight, Cyprus recovers icons of apostles from the Antiphonitis church in Kalograia


by Christiana O'Connell-Schizas

Last week, on September 24th, four icons stolen almost four decades ago returned to the small yet culturally rich island of Cyprus. In March 1975, these 16th century icons of the Apostles Peter, Paul, John and Mark were removed from the wooden iconostasis of the Antiphonitis church in Kalograia, Cyprus. They were illicitly exported, found their way into an Armenian art dealer's hands, and were purchased by the Lans, an elderly Dutch couple. In 1995, the Lans decided to sell the icons through Christie's auction house, who became alarmed at the icon's suspicious origin and provenance and  suggested that the couple refer the icons to the Cypriot Authorities.

Aside from their estimated value of €200,000[1], the repatriation of these icons is significant for a number of reasons. Firstly, frescoes from the same church were returned to Cyprus in 1997 with the help of Michel van Rijn, an art dealer turned informant. He had purchased them off Aydin Dikman, the most renowned looter of Cypriot artifacts. Michel's continuing cooperation with Cypriot authorities led to what is estimated to be the largest haul of stolen art since World War II - the raid on Aydin Dikman's three Munich apartments. Police estimated all the antiquities found were worth more than $60 million.[2] Cypriot frescoes, mosaics, and icons, ancient coins, pre-Columbian pottery, stolen paintings, and an unauthenticated Picasso were found. Four thousand more pieces were discovered hidden in walls and floorboards.

Cyprus filed a civil suit against Dikman in 1997, but it was not until 2010 that the German courts ruled in favor of Cyprus. Dikman appealed, but the Higher Regional court of Munich upheld the decision for the repatriation of the items. The 173 artifacts were formally returned to the Republic of Cyprus in a special ceremony held in Munich in July this year (while many more are still being held by Bavarian police due to lack of evidence that they come from Northern Cyprus). Their arrival at the Byzantine Museum in Nicosia is eagerly anticipated later this month. Ironically, amongst these 173 artifacts are more frescoes from the church of Antiphonitis. This illustrates how the cultural property that was once looted from this single church is slowly getting pieced back together.

The return of these four icons is also important because the Church of Cyprus took the Lans to court, and lost! Autocefale Grieks-Orthodoxe Kerk te Cyprus v. W.O.A. Lans was the first ever case to invoke the Protocol to the Hague Convention 1954 (Section I-3 of the Protocol). The Dutch Government and district court refused restitution as this convention had not yet been implemented into Dutch law. They also found the Lans to be bona fide purchasers and therefore the rightful owners. The Church and the Republic continued fighting for the icons, but in 2002, the Court of Appeal found that the claim was time-barred under statutes of limitations. In 2007, the Netherlands passed the Cultural Property Originating From Occupied Territory Act which prohibits the import and ownership of cultural property originating from a territory that was occupied in an armed conflict after 1959. This reopened the door for Cyprus' claim as the North of Cyprus has been occupied by Turkish forces since 1974. (Although the Turkish Republic of Northern Cyprus (TRNC) is in so called ‘power’ in the North, it is not a recognized entity and the area is de jure part of the Republic of Cyprus and its jurisdiction.) So in 2011, the Cypriot Minister of Foreign Affairs sent a letter to the Dutch formally requesting the return of the four icons. Some may argue that it is ridiculous for a country to be denied their cultural property for so long due to the bureaucracy of a country's national laws.

The rest as they say is history but it is noteworthy to mention that none of the above might have been possible without Tassoula Hadjitofi's ongoing efforts. She was the Honorary Council to the Netherlands when Christie's alerted the Lans in 1995 and the person van Rijn approached in 1997 which led to the Munich case. The icons will remain in the Byzantine Museum until the Republic of Cyprus regains access and administration of the occupied territories when the icons will be taken back to their rightful home, the church of Antiphonitis.

Bibliography
Autocefale Grieks-Orthodoxe Kerk te Cyprus v. W.O.A. Lans

"Επαναπατρίστηκαν 4 εικόνες από τη Μονή του Χριστού Αντιφωνητή."Επαναπατρίστηκαν 4 εικόνες από τη Μονή του Χριστού Αντιφωνητή. O Φιλελεύθερος, 24 Sept. 2013. Web. 29 Sept. 2013. <http://www.philenews.com/el-gr/politismos-kypros/162/163434/epanapatristikan-4-eikones-apo-ti-moni-tou-christou-antifoniti>.

"Επαναπατρίζονται στην Κύπρο σημαντικά εκκλησιαστικά έργα τέχνης." H KAΘHMEPINH. N.p., 24 Sept. 2013. Web. 29 Sept. 2013. <http://www.kathimerini.gr/4dcgi/_w_articles_kathremote_1_24/09/2013_519959>.

Hickley, Catherine. "Looted Icons Seized by Dutch Government Return to Cyprus."Bloomberg.com. Bloomberg, 17 Sept. 2013. Web. 29 Sept. 2013. <http://www.bloomberg.com/news/2013-09-17/looted-icons-seized-by-dutch-government-return-to-cyprus.html>.

Matyk, Stephen, ‘The Restitution of Cultural Objects and the Question of Giving Direct Effect to the Protocol to the Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict 1954’ (2000) 9(2)

Rose, Mark. "Special Report: Church Treasures of Cyprus - Archaeology Magazine Archive." Archaeology. Archaeological Institute of America, 51(4). July-Aug. 1998. Web. <http://archive.archaeology.org/9807/etc/special.html>. (last accessed 29 Sept 2013)

Stevenson, Peter. "Returned Icons given a New Home." Cyprus Mail. N.p., 24 Sept. 2013. Web. 29 Sept. 2013. <http://cyprus-mail.com/2013/09/24/returned-icons-given-a-new-home/>.

"Stolen Icons Being Returned to Cyprus." Cyprus Mail. N.p., 18 Sept. 2013. Web. 29 Sept. 2013. <http://cyprus-mail.com/2013/09/18/stolen-icons-returned-to-cyprus/>.



[1] Hickley, Catherine. "Looted Icons Seized by Dutch Government Return to Cyprus."Bloomberg.com. Bloomberg, 17 Sept. 2013. Web. 29 Sept. 2013.
<http://www.bloomberg.com/news/2013-09-17/looted-icons-seized-by-dutch-government-return-to-cyprus.html>

[2] Rose, Mark. "Special Report: Church Treasures of Cyprus - Archaeology Magazine Archive." Archeology. Archaeological Institute of America, 51(4). July-Aug. 1998. Web. 29 Sept. 2013
<http://archive.archaeology.org/9807/etc/special.html> 

September 26, 2013

Thursday, September 26, 2013 - ,, 1 comment

Review of theater screening of "Pompeii from the British Museum": expert guides provide insight to exhibit

by Eleanor Edwards, Special Contributor

Last night, September 25, theaters all around the United States screened "Pompeii from the British Museum", an 'exclusive private view of a major exhibition'. The show was excellent and in many ways better than the “in person” experience.

This special screening did not include the shoulder to shoulder crowd experience of visiting the British Museum in person. Instead the audience was shown around the empty exhibit space by leading experts in various fields related to the study of the Roman Empire.

The exhibit emphasizes the people of Pompeii and Herculaneum. The objects exhibited are meant to evoke an appreciation of both the ordinary working people and the more privileged. What did these people think about, how did they get ready for the day, what did they eat, how did they pass their leisure hours, how did they live in their houses? The exhibit itself is laid out like a typical home of a more privileged Pompeiian.

The introduction to the exhibit was made by Neil MacGregor, the Director of the British Museum, who pointed out the interesting motif of the dog that runs throughout the exhibit and serves as a common reference between the viewer and the residents of this ill-fated household.

Mary Beard, Classicist from Cambridge, took us around the the cubiculum (bedroom) and discussed the more intimate thoughts, dreams and desires of the residents. This provided a brief look into the possible ways of looking at particular objects of art displayed in the home (much made of the propensity for “willy waving” among the men of the time). But what Professor Beard brought to this experience was her unbridled enthusiasm and excitement for the subject. It was great fun to look at the exhibit with her.

At the British Museum in August, I found it was almost impossible to see and take in the relevance of each object so one tact was to choose a few favorites to swoop in on when there was a break in the crowd. For me those were the kitchen items. This behind the scenes presentation certainly added to my previous enjoyment of those objects when taken around by the Italian chef Giorgio Locatelli. We could really appreciate the beauty of everyday objects like a colander and the ferocity of the dormouse, a favorite delicacy.

One area that I completely missed was the display of items found in the drains of Herculaneum. Being show these items by the resident drains expert, Professor Andrew Wallace-Hadrill, brought real immediacy to what had been an overlooked display. He also brought up the controversial question regarding the continued excavation of the site versus the view that, for now, the focus should be the conservation of what has been already uncovered.

In 90 minutes, through both reenactments and expert analysis, Pompeii from the British Museum provided an engaging look at this exhibit. While not every item is examined, and a few favorites are notably missing, this event is well worth attending whether of not you have been to the British Museum exhibit.

The British Museum also has an application for iPhones and iPads, Life and Death in Pompeii and Herculaneum. Here's a link to the museum's exhibit which closes on September 29.

Fathom Events will show "Vermeer and Music" at theaters on October 10, 2013.

September 25, 2013

Wednesday, September 25, 2013 - ,,, No comments

Fathom Events Presents "Pompeii from the British Museum" in US Theaters Tonight Only

"Pompeii from the British Museum" will be screened in dozens of theaters throughout the United States tonight. Here's a link to Fathom Events to purchase tickets. The British Museum produced this film about their exhibit, "Life and Death in Pompeii and Herculaneum" (closing September 29). Here's a link to the worldwide listings of this event.

September 24, 2013

Showtimes for Joe Medeiros' documentary about the life and motivations of Vincenzo Peruggia's theft of the Mona Lisa

In July 2012, Tanya Levrik reviewed Joe Medeiros' documentary The Missing Piece: Mona Lisa, Her Thief, The True Story about the life and motivations of Vincenzo Peruggia who stole Leonardo da Vinci's "La Joconde" from the Louvre in 1911. This film is still being seen in festivals across the country:

 thru Thursday, Sept. 26
4:10 pm
The Screen, Santa Fe, NM

Thursday, Sept. 26 - 7:30 pm
Atlas Cinema Eastgate, Cleveland, OH

Tuesday, Oct 1 thru Saturday, Oct. 5 - 6:15 pm
The Guild Cinema, Albuquerque, NM

Thursday, Oct. 3 thru Saturday, Oct. 5
Friday, Oct. 4 1:00 pm & 8:00 pm
Saturday, Oct. 5 - 8:00 pm

Friday, October 11 - 3:30 pm

Friday, Oct. 11 - 7:00 pm
Sunday, Oct. 13 - 1:30 pm
Cleveland Museum of Art, Cleveland, OH

Sunday, Oct. 13 - 3:00 pm & 5:00 pm
Museum of Fine Arts, Houston, TX

Thursday, Oct. 15
Friday, Oct. 16
The Media Arts Center, San Diego, CA

Sunday, Oct. 20 - 2:00 pm
Sacramento, CA

Wednesday, Nov. 20 - 7:00 pm
Hiway Theater, Jenkintown, PA
Live Q&A with filmmakers

Sunday, November 24 - 4:30 pm
The Colonial Theater, Phoenixville, PA
Live Q&A with filmmakers

Thursday, Dec. 5 - 7:30 pm
Ambler Theater, Ambler, PA
Skype Q & A withfilmmakers

Tuesday, Dec. 20 - 8:00 pm
Batelle Film Club, Richland, WA

September 17, 2013

DePaul University College of Law in Chicago to host "Restitution and Repatriation: The Return of Cultural Objects Symposium" on November 13, 2013

Restitution and Repatriation: The Return of Cultural Objects Symposium will be held at DePaul University College of Law in Chicago on Thursday, November 14, 2013. The program will address the underlying legal, ethical and moral reasons and policies behind the return of cultural objects. Panels will discuss provenance research, museum acquisitions, historical appropriations, and the ethical issues that come into play when requests for repatriation are made.

Our Featured Lecturer will be Jack Trope, Executive Director of the Association on American Indian Affairs. Other speakers include: Lori Breslauer, Acting General Counsel of the Field Museum of Natural History; Steve Nash, Chair of the Department of Anthropology and Curator of Archaeology at the Denver Museum of Nature and Science; Rebecca Tsosie, a Willard H. Pedrick Distinguished Research Scholar and Professor of Law at the Sandra Day O’Connor College of Law at Arizona State University; Richard M. Leventhal, the Director of the Penn Cultural Heritage Center; Charles Brian Rose, a James B. Pritchard Professor of Mediterranean Archaeology in the Department of Classical Studies and Curator-in-Charge of the Mediterranean Section of the Penn Museum; Marc-André Renold, Director of the Art-Law Centre at the University of Geneva; Frank Lord, an associate at Herrick Feinstein LLP; Thomas R. Kline, Of Counsel in the Washington, D.C. office of Andrews Kurth LLP; and Simon Frankel, a partner at Covington & Burling LLP, as well as several other leaders in the art, museum, and cultural heritage fields.

The symposium has been approved for 7.75 CLE credits, including 1.5 Ethics credits (pending Ethics Board approval). To register for the symposium, or for additional information, please visit: http://law.depaul.edu/centers_institutes/art_museum/archaeological/default.asp.”

September 15, 2013

Italy loans Renaissance masterpiece to MFA, Boston as part of exhibit on recovery work by the Carabinieri Department for the Protection of Cultural Heritage

Piero della Francesca's "Senigallia Madonna"
Piero della Francesca's "Senigallia Madonna", a 15th century tempera and oil on panel, is on display through January 6, 2014, at Boston's Museum of Fine Arts. This cultural exchange is part of the Italian government's program, 2013 - The Year of Italian Culture in the United States.

In the Boston Globe, Geoff Edgers reports in "A museum, a heist, a rescued 'Madonna'":
The 24-by-21-inch work is a prime example of how a seemingly grim acknowledgment -- that the MFA had acquired works most likely looted from Italian soil -- has been turned into a bountiful cultural exchange. Back in 2006, under pressure and scrutiny from Italian investigators with photographic evidence that showed works looted sometime before they arrived in US museums, the MFA and the Metropolitan Museum of Art in New York struck deals to send objects back.
Here's a link to the MFA's website and a video about the work of the Carabinieri Department for the Protection of Cultural Heritage.

Edgers writes:
The loan of the Piero is part of a campaign by the Carabinieri, Italy's military police, to publicize their effort to recovery stolen artworks. So the MFA's Lee gallery will feature extensive wall labels detailing both the significance of the work as well as the tale of the theft.
Virginia Curry, who spoke at ARCA's first international art crime conference in 2009, was interviewed for the article:
Virginia Curry, a retired special agent with the Federal Bureau of Investigation, who has worked closely with the Carabinieri and also on the 1990 Gardner theft, said the MFA loan truly helps both parties. The MFA gets to show a priceless masterpiece. The Italians, sometimes criticized for reclaiming artworks on prime display in the United States and putting them in storage or in little-seen galleries, are able to share the country's culture.
“That’s really the purpose of it,” said Curry, who is based in Texas. “They’re showing that they’re willing to bring something back. That they’re not just going to demand the return of this material to be placed in a storehouse in Italy because they can’t display it as well as at the MFA or at the Metropolitan. They’re trying to show some responsibility and willingness to share their culture.”

September 12, 2013

HARP (The Holocaust Art Restitution Project) and HARP-Europe Sign A Collaboration Agreement Involving Research in Artworks Looted by the Nazis

Press Contacts:
For HARP Europe: Elizabeth Royer, 06 13 17 44 70 , elizabeth.royer@wanadoo.fr
For HARP: Marc Masurovsky, (00) 1 202 255 1602 , plunderedart@gmail.com

Paris, France - Washington, DC, USA - September 12, 2013 - The Holocaust Art Restitution Project ( HARP), based in Washington, DC, chaired by Ori Z. Soltes, and HARP-Europe, founded by Elizabeth Royer, both nonprofit organizations, announced today the signature of an exclusive collaboration agreement involving  research in artworks looted by the Nazi Regime.

For twelve years, Hitler’s Third Reich orchestrated a campaign of persecution, plunder and annihilation of millions of people, resulting in the seizure and expropriation of countless assets, including works of art. Due to the inertia from governments and the art market since 1945, and as Holocaust victims or their heirs continue to seek their stolen property, these artworks move freely around the world with impunity, and continue to be exhibited, exchanged or sold.

This is why HARP, based in Washington, DC, and chaired by Ori Z. Soltes, announced the signature of an exclusive collaboration agreement involving historical research of looted artworks, with HARP-Europe, a French association incorporated under French no-for-profit laws, and founded by Elizabeth Royer.  In fact, the identification and restitution of looted artworks require detailed research and analysis of public and private archives, either in Europe or North America.

HARP-Europe is a not-for-profit entity created and led by Elizabeth Royer, and headquartered in Paris. HARP is a US not-for-profit entity founded in 1997, which has worked for 16 years on the restitution of artworks looted by the Nazi regime. HARP was notably involved in the "Portrait of Wally" case, where a Schiele painting was seized by the U.S. Government, as well as in the restitution of an “Odalisque”, a painting by Henri Matisse, to the Rosenberg family. The purpose of both entities is to conduct archival research on artworks looted by the Nazi regime, to assist claimants in obtaining their restitution, to seek improvement of the legislative and political framework in favor of restitution of looted artworks, to develop and promote educational programs designed to facilitate historical research in property losses resulting from the Nazi regime.

HARP is advised and represented by the Ciric Law Firm Firm, PLLC in New York, USA, and Europe 

HARP is advised and represented by law firms Dauzier & Associés and Antoine Comte in Paris, France.

Elizabeth Royer, President                                                           
HARP-Europe, Paris, France

Ori Z. Soltes, President

HARP, Washington, DC, USA

Dick Ellis, ARCA Lecturer and founder of Scotland Yard's Art & Antiquities Squad, on arrests of travellers for thefts of museums and auction houses

Dick Ellis, ARCA Lecturer, formerly of Scotland Yard
When media reports announced that police had arrested suspects for a series of art-related thefts, ARCA blog turned to Richard Ellis, ARCA Lecturer and founder of Scotland Yard's Art and Antiquity Squad, for his perspective: 
The arrest of two men in Essex was a part of a joint police operation which saw a total of 17 men and 2 women arrested across the UK and Ireland, following a series of thefts at museums and auction houses in which ancient Chinese objects, Rhino horns and other works of art and antiques valued in excess of £20 million were stolen during the course of 2012. 
Police from 26 forces including An Garda Siochana in Ireland, the Police Service of Northern Ireland and members of the Serious and Organised Crime Agency (SOCA) raided houses and traveller camps in London, Essex, Cambridgeshire, Sussex, The West Midlands, Nottingham, Belfast, Cork and in Rathkeale near Limerick, the home of the Irish Traveller community. 
They are reported to have seized a large amount of unspecified property although it is not known whether this includes any of the rare Chinese jade carvings stolen from the Fitzwilliam Museum in Cambridge for which crime, four people were convicted earlier this year including a 15 year old boy. All were from the traveller community, members of whom have been responsible for a series of the major art and antique robberies committed in the UK in recent years. 
Not for the first time, the UK police were forced to create a cross border task force to investigate a series of crimes committed by travellers against public and private collections of art and antiques. The crimes themselves demonstrate how criminals follow trends in various markets, including the art market, and the explosion in value of Chinese artefacts following the re-emergence of the Chinese art market did not go unnoticed. Likewise, the high prices offered for Rhino horn in the Far East attracted the attention of criminals who realised that it was easier and safer to steal the horns from exhibits in museums rather than poach the horns from live animals in Africa. 
Travellers have been arrested in a number of European countries in connection with the theft of horns from museums, and Austria was recently seeking the extradition of one leading Traveller from Rathkeale. The scale of these crimes resulted in many institutions replacing the horns with replicas to discourage thefts, however in the case of the Norwich museum in Norfolk, the birthplace of Admiral Lord Nelson, when the burglars were unable to steal the Rhino horn they turned their attentions to other exhibits and stole some Nelsonian objects including a mourning ring worn by a member of Nelson's family following his death at the battle of Trafalgar in 1805. 
These crimes and how they and other art thefts are inspired by art market trends will be discussed in detail at the "Art Crime" Seminar to be held in Dallas Texas between the 14th - 18th October 2013 at the SMU Meadows School of the Arts at which I and former FBI Special Agent Virginia Curry will be talking. For further information about this course contact Abigail Smith at 214 768 3425 or abigails@smu.edu or visit http://mcs.smu.edu/calender/event/world-art-and-fine-art-crime.

September 6, 2013

Essay: Can there be a balance between the expansion of Makkah and the preservation of cultural heritage?

The Independent: 'Photo taken by activists in Saudia Arabia
 showing the destruction of the Grand Mosque.'
by Christiana O'Connell-Schizas

As the week of Hajj (October 13-18, 2013) is approaching, millions of Muslims around the world are preparing to visit the holy cities of Makkah and Medina. However, unlike any other year, the Ministry of Hajj is trying to reduce the number of foreign and domestic pilgrims due to the ongoing £690 million expansion work at Makkah's Grand Mosque. Islam is the fastest growing religion and every Muslim has to perform Hajj at least once in their lifetime. Twelve million pilgrims visit Makkah and Medina every year with the numbers expected to rise to 17 million by 2025. This justifies the infrastructure developments in Makkah. But at what cost?

Over the past twenty years much of Makkah's cultural heritage has been destroyed to facilitate the expansion and modernization of the city with luxury five-star hotels, skyscrapers and shopping malls. On the edge of the Grand Mosque, the house of Khadija, the first wife of the Prophet Muhammad (May Peace Be Upon Him), was demolished for public toilets. The grave of his mother Amina bint Wahb was bulldozed and gasoline poured over it. The house of the Prophet’s companion Abu Bakr is now the Hilton Hotel. The house of the Prophet’s grandson Ali-Oraid and the Mosque of Abu-Qubais is now the location of the King's palace in Makkah. The Ottoman era Ajyad Fortress was dynamited to build a skyscraper. Some clerics want the Mountain of Light, where the Prophet received the first verses of the Qur'an, demolished. There are plans to destroy the Grand Mosque's Ottoman columns that contain the names of the Prophet's companions. The Islamic Heritage Foundation fears for the house the Prophet was born in and the Ottoman and Abbasi sections of the Grand Mosque.

Why is it that the cultural heritage of these cities which have a spiritual and material significance, as they have a direct link to the Prophet himself, are being annihilated? First and foremost, Wahhabism, the Kingdom's fundamentalist interpretation of Islam, prohibits idolatry. This means that the cultural heritage associated with the Prophet, such as those mentioned above, encourage shirq, the worship of false or many gods, shrines and tomb visitations. (According to the Qur'an, verse 9.5, blasphemy is punishable by death: 'kill the polytheists wherever you find them and capture them and besiege them and sit in wait for them at every place of ambush'.) Secondly, some argue it is greed and opulence. The King Abdul-Aziz Endowment Project funded the $533 million Abraj al Bait Towers, the second tallest building in the world in 2012. These towers were built on the aforementioned Ajyad Fortress. They house the Makkah Clock Royal Tower, a 29-story Fairmont Hotel with 858 rooms renting for a minimum rate of $200 per night. Turkey protested the demolition of the fortress as cultural erasure. The Project planned to reconstruct it in the same traditional way as it was first built in the same location. This is not possible as the entire fortress was destroyed and the hotel now sits in its place. Today, eleven years on, there is no indication of it being rebuilt.

According to Mai Yamani, author of The Cradle of Islam: The Jijaz and the Quest for Identity in Saudi Arabia (London: I. B. Tauris, 2009) told The Independent, "what is alarming about this, is that the world doesn't question the Al-Sauds' custodianship of Islam's two holy places. These are the sites that are of such importance to over one billion Muslims and yet their destruction is being ignored... when the Prophet was insulted by Danish cartoonists thousands of people went into the streets to protest. The sites related to the Prophet are part of their heritage and religion but we see no concern from Muslims."
  
Why is this? With the exception of Turkey and Iran, many Islamic countries fear that any critical statement toward Saudi Arabia and its policies would reduce the number of its citizens' annual pilgrimage visas. Many locals are wary of what they say or are indifferent to the matter. Why the lack of concern from non-Muslims? Is it because they are not allowed visit these holy cities and have therefore never seen any of these sites? Maybe the international arena is not aware of the extent of the destruction due to the Kingdom's closely regulated press. These devastating events have been occurring over the past two decades yet have only gained recognition the past three years. What is left of early Islamic heritage needs to be saved and preserved. The monarchy and relevant ministries and authorities should act swiftly in finding a balance between cultural heritage and the expansion of Makkah and Medina.

Christiana O'Connell-Schizas, a solicitor, lived in Saudia Arabia for 18 years and returns frequently to visit.