Left Image provided by the NYDA's Office and HSI-ICE Right Image from Royal-Athena Galleries catalog

When speaking of the effects of conflict antiquities, the market's most vocal proponents, the International Association of Dealers in Ancient Art (IADAA) and the Confédération Internationale des Négociants en Œuvres d’Art (CINOA) often reflect on the limited number of objects seen in market circulation derived from the recent Middle East conflicts.  Members in positions of power are invited to speak at UNESCO, stand at podiums at trade events, and write articles lamenting that collectors and the trade in an age-old tradition, are under attack by heavy-handed regulators.

They never seem to quite get around to discussing in detail any of the illicit artefacts that  HAVE made it into the ancient art market, sometimes not identified for decades, and long after their respective civil wars are resolved.  They also don't monetize their own profits from this slow trickle of conflict antiquities, which transfuse the ancient art market with financial blood, years after the human bodies that once fought around them stop bleeding.

The dealer associations don't like to talk about the painful scars of plunder from earlier wars, like the museum-quality Khmer-era statues that came to market following the civil disturbances in Cambodia.  Some of the finest examples of Cambodian art produced during the Angkorian period (circa 800-1400 CE) were extracted from that country and readily snapped up by art institutions and private collectors, despite the fact that they were pillaged and illegally exported.

Looted from Cambodia’s ancient temples, during the Cambodian civil war, which raged from 1970 to 1998, conflict antiquities from that non-middle east war did not begin to flow back to their country of origin until 2014.  Likewise, antiquities dealers known to be involved in the trade, like Nancy Wiener and Douglas Latchford, a/k/a “Pakpong Kriangsak”, weren't charged until 2016 and 2019 respectively, almost twenty years after the war concluded.

In the US charging document for Latchford, correspondence evidence by the collector-dealer brazenly admits to his informed role.  Speaking by email to a colluding market colleague, discussing a recently plundered bronze head, Latchford writes:

“was recently found around the site of the Angkor Borei group in the N E of Cambodia, in the Preah Vihar area. They are looking for the body, no luck so far, all they have found last week were two land mines !! What price would you be interested in buying it at? let me know as I will have to bargain for it.”

Latchford also sent this same dealer another email that included a photograph of a standing Buddha still covered in dirt.  In this email he exclaimed:

“Hold on to your hat, just been offered this 56 cm Angkor Borei Buddha, just excavated, which looks fantastic. It’s still across the border, but WOW.”

Roman Marble Life-Size Portrait Head of an Athlete, possibly a pankratist. His closely cropped beard and thin moustache are suggestive of the styles favored by the athletes of the period. Sensitively carved of marble from the area near Saliari on the Greek island of Thasos, his strong countenance has alert deepset eyes and a  determined expression upon his parted lips.  Ca. 130 AD H 10 in. (26.7 cm) Ex French collection; W.H. collection, Westport, Connecticut, acquired from Royal-Athena Galleries in 1988.  Published J. Eisenberg, Art of the Ancient World, vol XVI, 2005, no 12.  

Even if scientific analysis of the statue-grade block of marble used for this magnificent sculpture were to reveal that the slab came from the Saliari marble quarries on Thasos, the movement of raw materials between the Phoenicians of Lebanon and the Greeks was common in antiquity.  But while the stone used for this sculpture could confuse dealers and collectors to the country of origin, its accompanying paperwork should not have.

Who were the owners Eisenberg codified as the "Ex-French collection" and "W.H. collection, Westport, Connecticut" and what export documentation was provided, if any, to justify this sculpture's legitimacy in the ancient art market?  These finer case details have not yet been made public by the New York authorities, and like the previous twelve recovered antiquities from the Temple of Eshmun, may further clarify which other ancient art dealers handled objects stolen during the Lebanese civil war,  and with whom or where they purchased them.

This new seizure in New York illustrates the difficulty faced by source countries in identifying historic conflict antiquities simply by trolling through every catalog, for every auction ever created, by any dealer, in any language in any country around the world; especially when the material used to create the artefact traveled, and might intentionally or unintentionally result in the object being mislabeled as coming from another country altogether.

In closing, I would like to underscore something as it relates to the difficulty in identifying conflict antiquities, and the seemingly impossible task faced by scholars, law enforcement, and source country ministries in bridging the gap between locating their plundered artefacts after the fact, years after these antiquities have infiltrated the ancient art market. I would also like to comment on how determining all the culpable hands these objects have passed through on their way to fine gallery showrooms in New York and other cities is a slow and tedious process which is not always a straight line to a restitution victory.

As this single incidence of plunder illustrates, the Lebanese Republic could not have reported this 1981 civil war-era theft to the Art Loss Register because the ALR had not yet been founded.  Even in 1991, after the ALR came into existence and began the never-ending task of archiving stolen objects around the globe, the archival photos for this theft, useful in cross-matching the stolen Temple of Eshmun objects, were only in the hands of a single foreign scholar, and not the Lebanese authorities.  This left the Ministry of Culture in Lebanon at a marked disadvantage for being able to prove irrefutably what objects in circulation absolutely belonged to them, and were in fact stolen from the Byblos Citadel antiquities depot during their civil war.

It wasn't until Professor Rolf Stucky, the former Head of the Department of Classical Archaeology at the University of Basel in Switzerland, and a colleague of archaeologist Maurice Dunand, published two books in 2005 that the Lebanese authorities got a much-needed lead which helped in the recovering of their antiquities.  Stucky's books contained critical photos that he had taken while working in Lebanon between 1973 and 1974 which matched with written excavation records for objects known to have been excavated at the Temple of Eshmun.  With these photos, the Lebanese authorities could start to sort out which artifacts had been stolen from the Byblos Citadel antiquities depot and already recovered and which objects were now known to still be missing.

Even with identifiable photos as to what belonged to whom, there are simply not enough eyes monitoring the ancient art market and too many mediums by which antiquities are sold, often misidentified, for source countries to recover all of their losses before the statute of limitations in various market countries makes investigations futile. In 2017, in seeking the seizure of the Temple of Ishmun Bull's head, Assistant District Attorney Matthew Bogdanos spoke to the cases he had worked on stating that his efforts had resulted in "multiple convictions, the seizures of thousands of antiquities totaling more than $150 million, and the repatriation of recovered antiquities to half-a-dozen countries".  And that's just the illicit antiquities in circulation that one State authority, with a dedicated prosecutor and a trained group of researchers, has managed to successfully detect.

Wire fraud,
smuggling,
conspiracy to commit wire fraud,
conspiracy to commit offenses against the United States,
and entry of goods by means of false statements.

These were the five related charges pertaining to the trafficking in stolen and looted antiquities that art expert Douglas A. J. Latchford, a/k/a “Pakpong Kriangsak” had been charged with in the 26-page indictment unsealed by the Department of Justice's U.S. Attorney’s Office for the Southern District of New York last November.  But since deceased persons cannot be prosecuted, the charges against Latchford will likely be dismissed by the court, once his death certificate, attesting to his demise on 2 August 2020, has been submitted to the court through his defense counsel.

Before the investigation into the smuggling and illicit sale of priceless antiquities from Cambodia, Thailand and India cast a long shadow over Latchford's activities, he was once considered a highly respected sponsor in museum circles, a person above reproach.  As such, his donations to the National Museum of Phnom Penh earned him a knighthood with the Royal Order of Saha Metrey Thnak Thib Badin, by the government of the Kingdom of Cambodia, an honor conferred with an award brooch, pinned primarily on foreigners who have rendered distinguished services to the King and to the people of Cambodia.

Apparently unaware of Latchford's role in plundering, Hab Touch, then Director General of the Department General of Cultural Affairs, now Secretary of State and high representative of Phoeurng Sackona, Minister of the Ministry of Culture and Fine Arts in Cambodia once said of Latchford:

“His gifts are very important because these artifacts teach the Cambodian people about their history...We hope his generosity will set a good example for others.”

Other pieces acquired directly or indirectly through Latchford's network also dotted collections at many important art institutions, where, at the time of their acquisitions, questions of provenance didn't seem to bother the museum's renowned curators.

Latchford is known to have donated at least seven objects to the Metropolitan Museum of Art in New York including the Kneeling Attendants (restituted), the stone head of a Buddha, and the bronze head of a Shiva, both from the 10th-century Khmer Angkor period.  He also donated four statues to the Denver Art Museum.

Other Latchford pieces found their way through direct or indirect sales and donations to US collections at the Cleveland Museum of Art, the Norton Simon Museum in Pasadena, the Denver Art Museum and the Kimbell Art Museum in Ft. Worth.  Yet, Latchford's purported acts of generosity were not just for USA museums' benefit.  His hands also touched objects lent to the Berlin Museum for Ancient Art and to the Tropenmuseum in Amsterdam.

By 2012, the tracks of the looters of the tenth-century site of Koh Ker lead repeatedly to Latchford.  Identified in a civil lawsuit as a middleman in the trafficking of looted Khmer sculptures from “an organized looting network,” he was alleged to have conspired with the London auction house Spink & Son Ltd., to obtain false export permits for the temple antiquities he brokered.

Some of the incriminating evidence against the dealer relates to a series of brazenly written emails.  One sent on 23 April 2007,  which left little to no doubt about Latchford's level of direct involvement and knowledge in transnational criminal activity against cultural artifacts.

Douglas Latchford's Facebook photo on 28 October 2017, two years before he was indicted in the USA

In that email, Latchford is reported to have written:

"Hold on to your hat, just been offered this 56 cm Angkor Borei Buddha, just excavated, which looks fantastic. It’s still across the border, but WOW.”

Attached to the same brazen email was a photograph.  It depicted a freshly (and clandestinely) excavated standing Buddha statue, still freshly covered in dirt. 

A Manhattan DA's complaint also asserted that Latchford contrived to traffic in antiquities that coinvolved another ancient art dealer under investigation, Nancy Wiener. Citing another email seized by investigators, Latchford reportedly told Weiner that he would give bronze statues to his colleague Emma C. Bunker, in exchange for false provenance.  Sadly, and as if facilitating the plunder of Cambodia and Thailand were not enough, Latchford is known to have purchased, a Chandrasekara Shiva, a Chola bronze idol, stolen from the Sripuranthan temple in Ariyalur district of Tamil Nadu through another bad actor in the art market, dealer Subash Kapoor,

The same Emma C. Bunker worked closely with Latchford writing three seminal volumes on the art of the Khmer people: “Adoration and Glory: The Golden Age of Khmer Art,” “Khmer Gold,” and “Khmer Bronzes.”  Flipping through each of these image-heavy books one can easily understand the pathway to profit involving the plundered and missing cultural patrimony of Cambodia.

Asked in a 2014 interview, who held most of the orphan artworks depicted in the books, Latchford was cagey.  He answered saying they were held by collectors who trusted him to keep their identities confidential, leaving many unanswered questions that this dealer now takes to his grave, as sadly, dead men tell no tales.

This autumn ARCA will begin working on a project to create a repository art crime related case documentation on criminal and civil proceedings relevant to researchers in the field. While national and international bodies and jurisdictional court systems offer the most comprehensive and up to date information to be found within the public domain on individual cases and the laws as they apply to those cases, researchers may find that they prefer to use other sources for reasons of functionality or comparative analysis. This is particularly true for art crime researchers looking to conduct searches in which they will be comparing cases or laws from multiple jurisdictions or nations. While this repository is at its preliminary stages, we hope that its growing list of public record documents will be of use to professionals and students interested in the study of art crime and its prosecution. Some cases which have preliminary public domain documentation include the following:

United States of America 

New York 

Lynda and William Beierwaltes v. Directorate General of Antiquities of the Lebanese Republic

Republic of Turkey v. Christie’s INC. and Michael Steinhardt

The People of the State of New York -against- Nancy Wiener

United States District Court Eastern District of New York x Approximately Four Hundred Fifty Ancient Cuneiform Tablets; and Approximately Three Thousand Ancient Clay Bullae

United States of America v. Frederick Schultz

Image Credit: Rahul Nangare,  Indian Revenue Service Diplomat, First Secretary High Commission of India, London

On August 15, the High Commissioner of India in London accepted the return of two objects looted from India.  The first was a 1st Century BCE - 1st Century CE carved limestone railing, which experts believe may have possibly been stolen from the Buddhist complex at Vaddamānu in the south Indian state of Andhra Pradesh.  The second item, was a 17th century Indian bronze figure depicting the Krishna as Balakrishna, standing on a lotus base.  The Hindu deity is naked except for his jeweled ornaments, dancing with his right leg raised, holding a ball of butter in his right hand.  This statue is believed to have been taken from the area of Tamil Nadu, the Indian state located in the extreme south of the subcontinent.

Both objects were voluntarily relinquished by an unnamed collector said to have purchased the objects via an also unnamed individual, long implicated in illicit trafficking. This unnamed dealer is presumed to be Subhash Kapoor.

For the uninitiated, Vaddamānu in Andhra Pradesh’s Guntur district might not ring any bells.  But for S. Vijay Kumar, a Singapore-based Indian trafficking expert and co-founder of the India Pride Project, the area is of considerable historic importance and one subject to looting.  ARCA has also noted that excavations in the area have yielded railing pillars, carved in limestone ('Palnad marble), similar to the one that has just been restituted.  One example of such is pictured here. These objects, along with cross-bars, copings, and other architectural elements were used in ancient Vihara and Stupa, some which date as far back as the Mauryan Empire (322 BCE - 185 BCE).  At Buddhist sites such as these, carved stone railings, sometimes square in plan, but more often circular, were used to define the confines of religious sites and could also have been used as decoration to delineate an external processional path.

Both of these recently restituted pieces came to the attention of U.S. Homeland Security Investigations (HSI) when the London-based collector who possessed them contacted the agency wanting to voluntarily surrender the objects to their rightful home.  The pieces are believed to have been purchased the objects via Subhash Kapoor, a disgraced ancient art dealer arrested in Europe and later extradited.  Kapoor is currently in Indian custody in the high security block of Tiruchirapalli Central Prison in the South Indian state of Tamil Nadu.  There he awaits trial on criminal cases for illegally exporting idols and artefacts from plundered temples.

On 08 July 2019, the Manhattan District Attorney's office followed suit with the Indian government and filed their own formal criminal charges against Kapoor and seven other co-conspirators.  In the court's documentation,  the well organized smuggling ring is believed to have smuggled $145 USD million worth of objects out of India and in to market countries in an operation believed to have lasted for as long as thirty years. Arrest warrants have been issued for all eight defendants on a total of 213 Counts, ranging from grand larceny to criminal possession of stolen property.  


Subhash Kapoor himself is listed in a total of 86 Counts in the recent New York charging document.  His charges include Grand Larceny in the First Degree (1 Count), Criminal Possession of Stolen Property in the First Degree (16 Counts), Grand Larceny in the Second Degree (13 Counts), Criminal Possession of Stolen Property in the Second Degree (50 Counts), Grand Larceny in the Third Degree (1 Count) Criminal Possession of Stolen Property in the Third Degree (3 Counts), Conspiracy in the Fourth Degree (1 Count) and one Count of Scheme and Defraud in the First Degree.

Before Kapoor's arrest on 30 October 2011 at Frankfurt International Airport for the charges he faces in India and his subsequent extradition from Germany to India on 14 July 2012, the influential dealer was widely feted in New York art circles.  In connection with his business, he maintained contacts around the globe, in Afghanistan, Cambodia, Bangkok, Bangladesh, Dubai, Hong Kong, India, Indonesia, and Pakistan, with several of his associates implicated in shipping and selling stolen objects supplied with fake provenance to hide their illicit origin. At the height of his operation, Kapoor personally visited Tamil Nadu frequently which underscores the intimacy of the collector-dealer-smuggler-looter network as it relates to these cases.

Reflective of and similar to the recent restitution, Kapoor's name has already been tied to looted antiquities from Andhra Pradesh, the zone where the limestone railing returned via the UK originates from.  In 2016, a 3rd century CE stone panel, illegally exported from India, originating from the Satavahana-era Buddhist Complex of Chandavaram. was also returned to India by the National Gallery of Australia.  In that instance, the museum stated that it had been duped into purchasing the carving from Kapoor’s Art of the Past gallery for $595,000 USD in 2005 after the dealer provided themuseum with falsified provenance documentation indicating that the object had left the country of origin before the 1970 UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property.  That object was later clearly identified as having been stolen from the Chandavaram site museum in 2001.

Terracotta Rattle in the form of a Yaksha  Metropolitan Museum Accession Number: 1990.309

Likely as a result of the increased pressure by grassroots organizations such as India Pride Project and law enforcement and prosecutors pressing formal charges against actors in the US, UK and India, two museums in the United States are finally taking action in evaluating the ethics of retaining prized antiquities within their collections, which are likely tied to Kapoor's illegal activities. According to an article in the New York Times, the Metropolitan Museum of Art, has at least 15 antiquities known to be directly or indirectly associated with Subhash Kapoor which have been acquired after 1990.

The first, the terracotta rattle pictured at left in the form of yakshas (male nature spirit), dates to the 1st Century BCE Shunga period, comes from the archaeological site of Chandraketugarh in the Indian state of West Bengal. It is documented in the Met's collection with no other provenance aside from a passing mention that it was purchased from Kapoor's now shuttered Madison Avenue gallery, Art of the Past.

At the time of Kapoor's arrest in Europe, the Met's management and curatorial staff showed little interest whatsoever in reviewing the legitimacy of the Kapoor linked pieces within their collection.  This despite the spartan provenance which accompanied many of his objects and the fact that it has been proven in other instances that the network falsified provenance documentation.

Now, perhaps in hindsight, and in the wake of recent embarrassing seizures, including an Egyptian mummiform coffin, inscribed in the name of Nedjemankh, an Italian Bell-Krater by Python and a Lebanese marble head of a bull it seems that the Met has finally decided it might be prudent to rethink its stance on some of its art acquisitions from India.

Image Credit:  S. Vijay Kumar Via Twitter 8 February 2019

Likewise on 20 August 2019 it was finally announced that the Los Angeles County Museum of Art had come round to deaccessioning its own contested Buddha.  First identified by India Pride Project in February 2018 and related to the same theft as the restituted Nalanda Buddha identified at Maastricht's TEFAF in 2018, LACMA had, until recently, resisted acknowledging that the bronze in their collection was stolen 58 years ago.  This despite the fact that the bronze was matched via an image India Pride Project had obtained of 14 objects stolen from the Nalanda Archaeological Museum of the Archaeological Survey of India (ASI) in Nalanda, Bihar, India in 1961.  Despite this overwhelming evidence, it took almost a year and a half of pressuring the museum,  pursuing India’s claim, for LACMA to decide to deaccession the stolen bonze.

All too often, even when faced with proof of illicit origin, museums weigh the rarity or price of their acquisition above the ethical responsibility of voluntarily restituting objects found to have passed through the illicit market.  When they do, they overlook the cumulative cultural cost of lost art to poorer and more vulnerable source countries such as, in this case, India.  It is critical to remember that each and every object stolen or looted, whether or not the statute of limitations has expired, presents a loss to the source nation's cultural patrimony, and when there are many objects plundered, as can be seen within this one trafficking network, each of these losses has a cumulative negative effect.

Those working in the black market bank of the fact that many sculptures stolen from small villages are less likely to be reported to the police, and if they are reported, that not much is achieved because little documentation is made outlining the details surrounding the theft or the object itself making it difficult to determine the actors involved.  Thankfully illicit antiquities researchers, and now more often key prosecutors, like those in New York, are willing to consider the evidence collected by diligent researchers and scholars, as well as reviewing the historic records of civil servants, even retired ones, in order to access overlooked details like old photographs and museum records which can sometimes help determine in determining if the provenance provided to contested pieces is fact or fiction.

By:  Lynda Albertson

The Supreme shakti, Maa Durga, an incarnation of Goddess Parvati, the daughter of Himavan, the lord of the mountains. She is the mother-goddess -- Shakti -- the power that runs the universe and is worshiped with utmost devotion in Hindu religion.  According to legend, Durga was created for the slaying of the demon Mahisasura by Brahma, Vishnu, Shiva, and the lesser gods, who were otherwise powerless to overcome him. Embodying their collective energy (shakti), she is both derivative from the male divinities and the manifested representation of their power and fought Mahishasura over a period of fifteen days during which he kept changing his shape to become different animals and misled her.

She is perhaps the most important goddess of the Hindus, often depicted triumphantly as the destroyer of evil – with her ten mighty arms carrying lethal weapons. Through all her forms, she encompasses the essence of salvation and sacrifice so it is fitting to try and outline here the passage of one venerated sculpture that has recently gone home thanks to the work of the New York District Attorney's Office in Manhattan and their Antiquities trafficking unit.