Sunday's Musée du Louvre heist has captivated global attention as an example of a spectacular daylight raid on one of the world’s most visited and symbolically important cultural institutions. Yet, while the audacity and precision of the theft are shocking, the event is not unique, nor is it just a "France" problem.  

Museums across the world, from Berlin to Hyderabad, from Dresden to Cardiff, have been targeted for their treasures. Whether it is the glint of gold, the rarity of ancient gems, or the prestige of royal jewels, institutions that safeguard the world’s cultural inheritance have face the dual challenge of welcoming the public while defending against those who would steal from it. The Louvre Museum incident is therefore part of a much larger pattern, one that reveals the enduring allure and vulnerability of gold and jewels, history, and craftsmanship in a modern world that can strategically monetise cultural patrimony. 

Here is a list of some recent noteworthy museum heists, some with recoveries, others not:

1. British Museum (London, UK) – curator-linked insider theft (~2009-2018 publicly revealed)

The suspected perpetrator is a former veteran curator, Peter Higgs, who held a senior post in the Greece & Rome department. The museum claims Higgs used his privileged access and knowledge of the collection’s gaps to remove items, alter or delete records, then sell them — often via eBay and PayPal under false identities — over a period spanning at least several years. 

On 26 March 2024, a London High Court ordered Higgs to list all allegedly stolen items, return what he still holds, and disclose the proceeds of sales.  The case is particularly notable because it underscores how insider threats — curators or staff with access to collections — can pose severe risks to heritage institutions, not just late-night break-ins or external smash-and-grabs.

2. Bode Museum, Berlin – 27 March 2017

The thieves then wheeled the coin out aided by insider knowledge of the museum’s security schedule. The heist shocked the museum world because of its audacity, the sheer weight of the object stolen, and the implication that even highly visible landmarks remain vulnerable to well-planned operations.  

The coin was never recovered and most believe it was melted down soon after the theft. 

3. Musée du Hiéron, Paray-le-Monial – 29 June 2017

The case is emblematic of how relatively modest regional institutions can be targeted for objects of substantial heritage value and how some thefts draw only short-lived media attention.

4. Doges Palace, Venice - 3 January 2018

According to the incident's reconstruction using cameras surveillance footage, two thieves, one serving as lookout and a second culprit who actively broke into a display case located in the Sala dello Scrutinio, quickly made off with 10 carat, grade D diamond and ruby pendant brooch and a pair of pear-shaped 30.2-carat diamond earrings in a platinum setting. As soon as the display case was breached, sounding an alarm, the pair deftly escaped through the crowded museum gallery, blending in among the patrons and were out of the museum before security could seal the museum's perimeter to apprehend them.

Both items belonged to His Highness Sheikh Hamad bin Abdullah Al-Thani, a member of the Qatari royal family, who is the first cousin of the current emir, Sheikh Tamim bin Hamad Al-Thani.  

5. Musée Dobrée, Nantes – 13-14 April 2018 

After narrowly escaping being melted down after the French Revolution, the 16th century gold case containing the heart of Anne of Brittany, the only woman to have twice been crowned queen of France was stolen along with other items from the Musée Dobrée in a nighttime burglary between 13-14 April 2018 in Nantes.

6. Strängnäs Cathedral - 31 July 2018

Two thieves entered the Strängnäs Cathedral one hour west of Stockholm during opening hours and quickly made their way down to the lower sacristy at the far left of the cathedral, the room where royal jewels were kept. One there, they smashed a jagged hole into the bottom left of the glass case where the objects were displayed, stealing two crowns and an orb used at the funerals of King Karl IX and Queen Kristina.    

Exiting the museum at a brisk pace, the pair escaped on bicycles before boarding a boat on Lake Mälaren which contains hundreds of islands and is surrounded by several large towns and the capital, Stockholm.  Two accomplices, Johan Nicklas Bäckström and Martin Cannermo were convicted in the Attunda District Court in  large part due to the amount of DNA evidence left behind.   The jewels were recovered the following year in February. 

7. Nizam Museum, Hyderabad – 2 September 2018

In this theft the perpetrators were arrested in the following weeks and the objects were recovered. This heist underlined the vulnerability of heritage sites in parts of India, where lesser-known treasures may attract opportunistic thieves, and like with the Louvre museum, the site faces security challenges include mixing public access with historical building layouts.

8. Blenheim Palace, Oxfordshire (UK) – 14 September 2019

The intruders drove two stolen vehicles through locked wooden gates, entered the palace grounds just before 5 am, smashed a window and a heavy door, detached the art piece from its plumbing connections (which caused flooding and structural damage to the historic building) and left the site within roughly five minutes. 

Despite subsequent arrests and a trial, with men jailed for their roles in the theft, the gold artwork has never been recovered and is widely believed to have been cut up or melted down for its bullion value.  This case stands out not only for the extraordinary value of the object, but for the dramatic nature of the heist: a major heritage site, a pre-planned reconnaissance (one suspect reportedly visited the palace twice ahead of the theft), and an artwork that itself criticises excess and privilege.

Police are seeking six suspects who ransacked the17th-century French Chateau Vaux-le-Vicomte near Paris, and tied up the palaces owners before making off with a haul worth €2m (£1.8m), authorities have said.

9. Chateau Vaux-le-Vicom (Maincy) – Mid September 2019

In the hours before dawn, six masked thieves crept into the private quarters of the lavish 17th-century chateau Vaux-le-Vicomte and tied up 90-year-old Patrice de Vogüé and his 78-year-old wife, Cristina, with neckties, according to local police. 

The couple, who opens the palatial home to the public, were uninjured, however the  thieves made off with an estimated €2 million in cash, emeralds and other jewels from the Baroque chateau's safe, which they emptied. 

10. Green Vault (Grünes Gewölbe), Dresden – 25 November 2019

This case exposes how even well-guarded state museums with legacy architecture and internationally renowned treasures can still fall victim to organised crime networks, in this case members of one of the Arabische Großfamilie clans. 

11. Museum of Applied Arts, Belgrade (Muzej Primenjene Umetnosti) – 2019

Although precise dates and object lists remain incomplete publicly, the incident illustrates how institutional under-resourcing and internal vulnerabilities can enable thefts of culturally significant material, especially where tracking and transparency may be weaker than in major Western European museums.

12. Museo Civico a Palazzo Guicciardini ( Montopoli) - 28 October 2020

Thieves gained entry to this historic palazzo from the building's rear garden, forcing open the only unbarred window located between the first and second floors and bypassing the alarmed entrance and bookshop.  Once inside, they stole 17th silver, and silver and brass liturgical objects as well as metal antiquities, scooping up as mucg as they could and throwing the pieces haphazardly into garbage bags. 

13. Arundel Castle (West Sussex) - 21 May 2021

At approximately 10:30 pm, thieves targeted the medieval castle in Arundel.  Despite responding within minutes of the alarm going off, Sussex police arrived to find a burnt-out car, thought to be connected to the heist, and a display cabinet in the dining room stripped of £1 million worth of historic gold and silver artefacts, including a 16th Century set of gold and enamel rosary beads made up of a crucifix and a string of five decades made up of small beads, with five larger beads.  This rosary was carried by Mary Queen of Scots to her execution at Fotheringhay Castle in 1587 and was bequeathed by her to Anne, Countess of Arundel, wife of St. Philip Howard.  In addition to these, several coronation cups given by Mary to the Earl Marshal of the day, and other gold and silver objects were taken. 

14. Kelten‑ & Römermuseum Manching – 21-22 November 2022

Tens of thousands of pounds worth of antique silver artefacts were stolen in an early morning raid between 02:40 and 03:30 GMT at this military museum in Nottinghamshire at Thoresby Park.

19. Musée Saint‑Remi – December 2023

Highlighting a case of insider threat, at the end of 2023 (inventory in December), the Musée Saint-Remi in Reims discovered that 130 coins: Roman, medieval and modern, which were missing from its storage. The losses triggered a formal investigation and, in early 2025, by cross-border cooperation Russia-France, seized matching coins from Moscow. Although perhaps lower in headline value than giant jewellery sets, the case is important for illustrating how gradual internal losses of heritage items may go undetected until routine checks reveal the gap, especially in institutions with littler public visibility.

Forty-nine jewellery pieces, created by twentieth century sculptor, painter, and Italian partisan, Umberto Mastroianni and loaned by his heir Paola Molinengo Sosta disappeared during a burglary between 5/6 March 2024 at the house-museum, Vittoriale degli Italiani in Gardone Riviera, which was once home to Italian poet and novelist Gabriele D'Annunzio. A 50th object was dropped when the thief or thieves departed.

21. Ely Museum – 7 May 2024

In the early hours of 7 May 2024, thieves broke into Ely Museum (Cambridgeshire, UK) and stole a Bronze-Age gold torc and matching gold bracelet dating back ~3,000 years. This theft highlights that even smaller local museums housing valuable examples of pre-historic metalwork are vulnerable to great losses as their artefacts are highly portable, extremely rare, and often less visible in high-security circles, making them tempting targets for specialist thieves.

22. Musée Cognacq‑Jay, Paris – 20 November 2024

On 20 November 2024, daytime thieves burst into the Musée Cognacq-Jay in Paris, stealing precious snuff-boxes and other luxury items from 18th-century collections. This daylight robbery in a central Paris museum, like the Louvre's underscores that the risk is not limited to dramatic late-night smash-and-grabs.  This meticulously planned raid, like the Louvre, lasted only minutes, during which the thieves targeted small but immensely valuable £5 million collection, due to their portability and worth.   It demonstrates that even open-hours thefts in busy urban settings are possible when the thieves planning and execute their crimes with precision.  

Thankfully, we have some recent recoveries in this incident. 

23. Musée du Hiéron (again) – 21 November 2024

Just one day after the Musée Cognacq-Jay thefts, on 21 November 2024, the Musée du Hiéron in France suffered its own bold daylight robbery of sacred art and jewellery. The fact that the same institution was hit so soon after a theft in Paris underlines what happens when vulnerabilities are exposed: criminals may act quickly to exploit perceived weakness.

Once the glass was breached, the culprits quickly snatched as many of the small gold and ivory statuettes and jewel encrusted elements as they could and in just two minutes the deed was done and the thieves' escape was made.

24. Museo Diocesano di Nocera – 14 January 2025

In a nighttime burglary, three thieves broke into the the Diocesan Museum of San Prisco, located within the Episcopal Curia of Nocera Inferiore and stole a series of votive objects and precious objects including Jewellery, bracelets, rings and votive offerings from three display cases which were part of the Treasure of San Prisco, estimated to be worth tens of thousands of euros

25. Drents Museum, Assen – 25 January 2025

On 25 January 2025, early morning, thieves used an explosive device at the underground garden entrance of the Drents Museum in Assen (Netherlands) to gain entry. The blast broke windows and enabled the hoist of ancient gold bracelets and a gold crown on loan from Romania’s national museum. Later official statements described this as a major cross-border heritage crime. 

This incident showcases how extreme force and organised crime tactics may be used, as well as how valuable insured items on loan may be targets.

26. Historisches Museum Basel – Late May 2025

A historic finger ring was stolen from the Haus zum Kirschgarten, one of the three exhibition halls of the Basel Historical Museum. The ring bears the initials "B M" and is made from a piece of jewelry that Tsar Alexander I (1777–1825) presented to his hostess at the Segerhof in Basel as a gift in January 1814.  The theft was discovered at the end of May 2025 but was only made public in June 2025. 

27.  Egyptian Museum - September 2025

A 3,000-year-old gold bracelet once belonging to Pharaoh Amenemope was stolen from a secure safe inside the Egyptian Museum in Cairo by a restoration specialist entrusted with its care. Rather than being preserved or sold intact, the artefact was melted down for its metal content, reducing an irreplaceable piece of Egypt’s ancient history to bullion worth only a small amount on the open market. The act represents not only a profound betrayal of professional trust but also a stark illustration of how the price of gold can incentivise destruction of world heritage, even for comparatively trivial financial gain.

28. Royal Albert Memorial Museum and Art Gallery,  Exeter  – 10 September 2025

Seventeen antique pocket watches and a a flintlock blunderbuss firearm were taken during an overnight theft at the Royal Albert Memorial Museum and Art Gallery after two people forced their way into the museum. 

29. Muséum national d’Histoire naturelle (Paris) – 15-16 September 2025

On 16 September 2025, a lone thief broke into the geology/mineralogy gallery of the Muséum national d’Histoire naturelle (Jardin des Plantes, Paris) and stole an Australian gold nugget weighing five kilos as well as smaller ones, from California and Bolivia, valued at ~€600,000. The targeted nature of the theft (raw gold specimens) indicates a recurring modus operandi: thefts in museums focused on easily transportable and smelt-able assets even within large heritage institutions.

On 21 October 2025 Paris Prosecutor Laure Beccuau announced that a 24-year-old Chinese woman has been arrested. Investigaors determined that she had left France the day of the break-in and was preparing to return to China. At the time of her arrest on October 13th, she was trying to dispose of nearly one kilogram (2.2 pounds) of melted gold.

30.  Sain Ffagan National Museum of History, Cardiff (Wales) – 6 October 2025

At 12:30 AM on 6 October 2025, two suspects smashed their way into the main building of  Sain Ffaganin Cardiff and pulled off one of the fastest museum heists on record, just four minutes from entry to exit. 

Just days after the dramatic burglary at the Louvre Museum in Paris, French authorities reported an overnight burglary at the Musée de la Maison des Lumières Denis Diderot in Langres (Haute-Marne) where a “treasure” of gold and silver coins was stolen. According to local police the entry was detected around 11 a.m. on the morning after windows were found broken and a sliding door forced, but by then the thieves had already made off with the items, which reportedly came from a cache of some 2,000 coins worth roughly €90,000 when first discovered in 2011.

Still Life with Guitar (1919) by Pablo Ruiz Picasso 12.7cm by 9.8cm Paper, Gouache & Pencil

A privately-owned Pablo Picasso painting, Still Life with Guitar (1919), has mysteriously vanished while being transported from Madrid to Granada for inclusion in an exhibition, prompting a police investigation into what appears to be a carefully orchestrated theft.

The gouache and lead pencil painting, insured for €600,000, ten times its estimated market value, was being loaned to Bodegón: La eternidad de lo inerte (Still Life: The Eternity of the Inanimate), an exhibition of 58 still life works from the 17th century and the 20th century, two key time periods in the still life genre.  The exhibition, organised by the CajaGranada Foundation in collaboration with CaixaBank, opened on 9 October and is set to run through 11 January 2026 and traces a journey of these works from the Flemish Baroque through to the Post Cubist period.

Unfortunately, when exhibition staff at the Centro Cultural CajaGranada-Motril  began unpacking the shipping crates to begin the installation they discovered that the Picasso work on paper was not among the other objects inventoried. 

The painting, loaned from a private Madrid collection had been packed on September 25 and departed the capital on October 2 in a van escorted by two couriers.  The brief, four-hour journey appears to have taken a puzzling turn as the couriers are said to have made an unusual overnight stop at 8:30 pm in Deifontes, a small town just 23 short kilometres north of the destination city, Granada.

Quoted in news articles,  Deifontes mayor Paco Abril Tenorio, said the decision by the drivers to stop overnight was “very strange.” “Granada is just over a quarter of an hour from here,” he told ABC newspaper. “I don’t understand why they had to stop here to spend the night.”

The couriers reportedly took turns sleeping inside the vehicle to guard their high-value cargo, which had a total insured value exceeding €6 million.  Their detour however, was not part of the agreed-upon itinerary and is now part of the focus of the police inquiry.

The van is said to have arrived at the CajaGranada-Motril Cultural Center the next morning, where the artworks were unloaded in a video-monitored surveillance zone and signed in by the exhibition manager.  However, because the crates were not individually numbered, staff were unable to confirm whether all items matched the shipment list without opening them. The boxes remained sealed under surveillance throughout the weekend, and it was only when curators began installation on Monday that Still Life with Guitar was discovered missing.

The foundation immediately alerted police, who are reviewing security footage and route logs to determine whether the disappearance occurred during the Deifontes stop, in transit, or after the paintings' arrival in Granada. No arrests have yet been made.

The theft adds to a long history of high-profile Picasso disappearances. His works—coveted by collectors and art thieves alike—are among the most frequently stolen in the world, with the Art Loss Register ranking the artist as the world’s most frequently stolen artist, with 1,147 missing works reported. 

As investigators continue their search, Still Life with Guitar joins a troubling catalogue of missing Picassos—reminders of both the artist’s enduring allure and the persistent vulnerability of cultural treasures in transit.

Five ornate snuff boxes stolen in a 2024 museum heist in France have been recovered.  Made of gold, precious stones, mother-of-pearl and enamel and valued at over €1M, the items had been stolen on 20 November 2024 from the Musée Cognacq-Jay, located in the Marais neighbourhood of the 3rd arrondissement of Paris.                                                                                     On that date, four individuals, armed with axes and baseball bats, burst into the museum during "Luxe de poche. Petits objets précieux au siècle des Lumières," a temporary exhibition showcasing a variety of intricate boxes representative of the Age of Enlightenment,  while the museum's patrons could do nothing but stand and watch.  Wearing gloves and having donned hoods and helmets to conceal their identities, the daylight smash-and-grab team bashed open a single display case containing high-value jewel boxes loaned for the event from the Château de Versailles, the Musée du Louvre, the Musée des Arts Décoratifs, the Palais Galliera, the English Royal Collections and the Victoria and Albert Museum.

In and out before police could arrive, the culprits made a hasty getaway on scooters, driving off into Paris traffic with a total of seven bejewelled boxes, 

Which five boxes have been recovered?

This gold snuff box dating from the 18th century and encrusted with agate cabochons made by Johann Christian Neuber, a famous Dresden goldsmith known for his gold Steinkabinettabatiere.  This object had been on loan from the Musée du Louvre. 

This snuff box made of agate plates dating from 1760-1770, with hard stone reliefs, joined by a gold cage mount, and a lid encrusted with numerous brilliant-cut diamonds,  was made by Daniel Baudesson, and also on loan from the Musée du Louvre. 

This chrysoprase snuffbox was made in Berlin, Germany, in c. 1765and is associated with Frederick II, the Great, of Prussia (1712-1786). Its been previously on display at the Somerset House as part of the Gilbert Collection ©,  The Rosalinde and Arthur Gilbert Collection on loan to the Victoria and Albert Museum, London.

This diamond-encrusted, varicoloured-gold snuffbox, decorated with figures in neo-classical landscapes was once gifted to Thomas Dimsdale (1712-1800), by Catherine II during the Russian smallpox epidemic of 1768.  part of the Gilbert Collection ©,  The Rosalinde and Arthur Gilbert Collection on loan to the Victoria and Albert Museum, London.

Police are still searching for:

This 16th century gold and lapis cartouche shaped snuff box with a cameo of the Birth of Venus Cameo from the UK's Royal Trust. 

Another snuff box made by Johann Christian Neuber, this one from c. 1780 which combined his own technique of Zellenmosaik, or mosaic of hardstones set into gold collets, with the technique of Roman micromosaics only then recently developed.  It is part of the Gilbert Collection ©,  The Rosalinde and Arthur Gilbert Collection on loan to the Victoria and Albert Museum, London.

For now, the police and prosecutors remain tight-lipped on when or with whom these pieces were retrieved, but for now at least there has been some positive movement in the investigation. 

Christie's 2019 Auction

In November 2019, ARCA published a blog post raising questions about a 5th-century BCE polychrome antefix depicting a dancing maenad, which had been consigned to a Christie’s auction and that I believed the piece warranted closer scrutiny. For those unfamiliar, an antefix is a decorative architectural element once placed along the eaves of ancient roofs to conceal the joints between tiles.

What drew my attention was the striking resemblance between the object at right and three other Etruscan antefixes, also portraying maenads, that had previously been repatriated to Italy after being identified as having been illegal excavated and removed from Italy.

The provenance of the previous, 2019-consigned, antefix up for auction at Christie's read:

Provenance:

"with Ingrid McAlpine (1939-2018), London and Epsom, 1994". 

In terms of its circulation history, that sparse entry left roughly 2,500 years unaccounted for as nothing prior to 1994 was specified.  Knowing a bit about the consignor's background, I knew, that before her death, Ingrid McAlpine had been married to the ancient art dealer Bruce McAlpine, and that prior to their divorce, both were listed as proprietors of McAlpine Ancient Art Limited in the United Kingdom.

The McAlpines’ names have surfaced in connection with other trafficked antiquities that passed through the legitimate art market. Among these is an Attic black-figured hydria which reached the McAlpines through Palladion Antike Kunst, a gallery operated by disgraced dealer Gianfranco Becchina. Their names also appear alongside the red flag names of Robin Symes and Barbara and Lawrence Fleischman, in relation to the donation of a looted Apulian bell-krater, both objects of which were later restituted to Italy. 

Villa Giulia, 1937 Excavation

If you look carefully, by her feet you can make out the hoof of the Silenos this lady would have been dancing with.  

This detail is remarkably similar to the antefix in the form of a Maenad and Silenos Dancing which once graced the cover of the exhibition catalog A Passion for Antiquities: Ancient Art from the Collection of Barbara and Lawrence Fleishman.  

After careful restoration that antefix was first seen on the market with Robert Hecht who sold it to the Hunt collection.  Next it was circulated via Sotheby's with that collection was liquidated and bought by Robin Symes, who immediately resold it to the Fleischmanns.  In1994 the couple exhibited the piece , along with their entire collection, at the J. Paul Getty Museum, before it was formally acquired by   the museum in 1996 (96.AD.33).  The piece was restituted to Italy after it was matched by Daniela Rizzo and Maurizio Pellegrino to a polaroid in the Giacomo Medici archive.  Like the one up for sale at Christie's now, both artefacts were broken along the lower half and when whole, depicted a Silenos dancing behind the Maenad.

Now let's look at the provenance the auction house has cited.

Elsa Bloch-Diener (1922–2012) was a Swiss art dealer who operated a gallery at Kramgasse 60 in the old town of Bern.  She is known to have collaborated with Ines Jucker (née Scherrer, 1922-2013), the scholar and sometimes ancient art dealer responsible for the exhibition catalogue Italy of the Etruscans, cited in the Christie’s lot description as an exhibition where this piece was on view to the public. 

Jucker not only authenticated works for Bloch-Diener but also curated the 1991 Etruscan exhibition at the Israel Museum in Jerusalem referenced in the Christie's sale.  Also contributing to that exhibition's catalogue were entries by Giovannangelo Camporeale, Fiorella Cottier-Angeli, George Ortiz, and Christoph Reusser, names that have, at times, prompted debate and concern within the field.

In May 2002, when Swiss and Italian authorities raided Gianfranco Becchina's Antike Kunst Palladion, as well as three of Becchina’s storage facilities in Basel, authorities seized documents which identified transactions between the Sicilian and Ines Jucker which documented that she purchased artefacts from this dealer and sold them onwards.

Along the same theme Jucker studied an Attic Red-Figured calyx krater signed by Syriskos (painter); donated by Lawrence Fleischman and his wife to the J. Paul Getty Museum which had been acquired from Robin Symes in 1988.  Pictured on Medici Polaroid it was restituted to Italy.   Likewise a Black-Figure Cup Fragment with the Capture of Silenus in the Tondo which Jucker sold to Dietrich von Bothmer was also returned to Italy.

In the Israel exhibition Jucker curated, which featured the antefix up for auction and identified it as coming from the ancient site of Veio, some four hundred Etruscan objects were presented, none of large format, some with an inscriptions.  Among them were small bronzes, ceramics, jewellery, terracottas (architectural, votive, and cinerary urns), and sculptural fragments in nenfro.  In total they represented all periods and regions of Etruscan art. 

The main nucleus of the Israel displayed ensemble came from the collection of the late Ivor and Flora Svarc, many of whose holdings would be donated to the Israel Museum.  Svarc's objects were complemented by pieces already in Israeli collections, along with loans from the collector-dealer Jonathan Rosen and other private collectors, mainly in Switzerland.  

As cited by Drs David Gill and Christopher Chippindale in Material Consequences of Contemporary Classical Collecting the vast majority of the artefacts exhibited during this exhibition were previously unpublished.  This made this public display of the items their first concretising stop towards having an art marketable pedigree. 

The fact that we know this object comes from the context of Veio, can also be found in the same catalogue as the restituted Getty atefix, A Passion for Antiquities: Ancient Art from the Collection of Barbara and Lawrence Fleishman.

Page 197 refers specifically to the artefact currently up for auction:

A number of fragmentary examples of antefixes of this type, as well as of molds for producing them, have come to light at Civita Castellana (Falerii) (see Andrén; Sprenger/Bartoloni), finds which clearly prove their local manufacture. But the votive deposit of Campetti at Veii has yielded the head of a silenos of identical type and made of Veian clay (see Vagnetti 1971), which led P. J. Riis to suggest that this type of antefix was invented at Veii. The lower half of an antefix of this type with a provenance from Veii is in a private collection in Switzerland (see Jucker), and similar fragments have recently been excavated in Rome (see Cristo fani). 

With that in mind, it is necessary to return to the same question previously directed at Christie’s: 

On what evidentiary basis, supported by what verifiable documentation, did the auction house authorise the consignment of this artefact?  In the absence of any demonstrable chain of custody or export records, the decision to green-light its sale raises serious concerns regarding the robustness of the auction house’s internal due diligence procedures.

In this case, the question is not rhetorical but fundamental. Is Christie’s in possession of any concrete paperwork supporting the legitimacy of this Dancing Maenad’s appearance on the market, or was the absence of evidence simply overlooked given its publication in an exhibition, in the hope that the object’s passage through the auction process would escape closer scrutiny.