Skip to main content

ADCAEA: an association for dealers and collectors

Paul Barford's post on the Association of Dealers & Collectors of Ancient & Ethnographic Art (ADCAEA) has attracted my attention (adcaea.wildapricot.org). It is not clear why a new body is needed. One of the two dealers, Hixenbaugh Ancient Art, is already a member of the International Association of Dealers in Ancient Art (IADAA).

I would like to focus on one point in the Code of Conduct.
All members undertake not to purchase, sell or exhibit an object until they have exercised, to the best of their ability, due diligence to ensure such object was not knowingly stolen from excavations, architectural monuments, public institutions or private property.
It is remarkably similar to the one from the IADAA:
The members of IADAA undertake not to purchase or sell objects until they have established to the best of their ability that such objects were not stolen from excavations, architectural monuments, public institutions or private property.
Both the ADCAEA and the IADAA seem to condemn removal of archaeological or ethnographic material from "excavations". But what about from known or even scheduled archaeological sites that have not been excavated?

So, for example, imagine a known Roman urban site that is covered by arable fields. Would it be acceptable for members of ADCAEA (or for that matter IADAA) to handle material that had been removed from that site on the grounds that the structures had not been "excavated"? I am sure that they would say no.

So why use the word "excavations" rather than "archaeological sites" in the formulation?

I am sure that both bodies have taken legal advice to avoid careless wording. So we can only presume that in the case of ADCAEA that this is intentional.

And those who observe these things will note the presence of a paid lobbyist on the list of officers for ADCAEA. What signal does that send out about this new association?

Bookmark and Share so Your Real Friends Know that You Know

Comments

Popular posts from this blog

The Getty Kouros: "The moral is, never ever buy a piece without a provenance"

In the wake of the 1992 Athens conference to discuss the Getty kouros (85.AA.40), one of the delegates, a "distinguished" American museum curator, was quoted ("Greek sculpture; the age-old question", The Economist June 20, 1992):
The moral is, never ever buy a piece without a provenance.
The recent discussions about the return of antiquities from North American museums to Italy and Greece may seem far removed from the acquisition of what appears to be a forged archaic Greek sculpture in the 1980s. However, there are some surprising overlaps.

The statue arrived at the Getty on September 18, 1983 in seven pieces. True (1993: 11) subsequently asked two questions:
Where was it found? As it was said to have been in a Swiss private collection for fifty years, why had it never been reassembled, though it was virtually complete?
A similar statue surfacing in the 1930s
A decision was taken to acquire the kouros in 1985. The official Getty line at the time (and reported in Russell…

Marble bull's head from the temple of Eshmun

Excavations at the temple of Eshmun in Lebanon recovered a marble bull's head. It is now suggested that it was this head, apparently first published in 1967, that was placed on loan to New York's Metropolitan Museum of Art (Tom Mashberg, "Met Museum Turns Over Another Relic With Disputed Past to Prosecutors", New York Times August 1, 2017 ). The head is reported to have been handed over to the Manhattan district attorney after a request was received from the Lebanese authorities.

It is suggested that the head may have been looted from an archaeological storage area at Byblos in the 1980s during the Lebanese civil war. Mashberg has rehearsed the recent collecting history:
The owners of the bull’s head, Lynda and William Beierwaltes of Colorado, say they have clear title to the item and have sued Manhattan prosecutors for its return.  The Beierwaltes bought the head from a dealer in London in 1996 for more than $1 million and then sold it to another collector, Michael …

The Getty kouros: a modern creation?

The refurbished galleries of the J. Paul Getty Museum no longer include the Getty kouros, a sculpture purchased in 1985 (Christopher Knight, "Something's missing from the newly reinstalled antiquities collection at the Getty Villa", LA Times April 19, 2018). Knight explains:
Unexpectedly, the Getty kouros, a controversial sculpture even before the museum acquired it more than 30 years ago, has been removed from public view. The work is now in museum storage.   For decades, the life-size carving of a standing nude youth carried one of the most distinctive labels of any work of art in an American museum: “Greece (?) about 530 B.C. or modern forgery.” The label encapsulated puzzling issues about the work, whose questionable status as dating from the archaic dawn of Western civilization had been the focus of scholarly and scientific research, debate and international symposiums for years. It is ten years since I provided an overview of the kouros here on LM. And over 20 year…