Further returns to Greece from the Met

Source: Hellenic Consulate General in New York

In September 2025 a number of antiquities were seized from New York’s Metropolitan Museum of Art and at least six formed part of the return to Greece announced at the beginning of October. All have been acquired from Andrés A. Mata in 2001 and 2004, and all had been purchased from Fortuna Fine Arts. They include two stone axe heads (2004.342.3–4), a Cretan or Cycladic terracotta jug (2004.342.2), a Cycladic collared jar (2004.342.1), and two iron swords (2001.346, 2001.543). One of the swords was given to the museum in honour of Carlos A. Picón. 

A further piece was mentioned in the press release, an archaic bronze gorgon applique. It had apparently surfaced through Robert Hecht, who sold it to Fortuna Fine Arts. It then added: 

Fortuna then falsely claimed that the Gorgon came from William Froelich, a name frequently used by Fortuna and other galleries in its false provenance. Thereafter, the Gorgon was sold to a private collector who placed the antiquity on loan at the Met. The Antiquities Trafficking Unit seized the Gorgon from the Met in 2025. 

This appears to be the figure that formed part of the exhibition, ‘Dangerous Beauty’, and was identified as coming from the collection of Andrés A. Mata. (The figure can be seen in press photograph of the October 2025 handover.)

Another gorgon applique that passed through Fortuna Fine Arts was acquired by the Carlos Museum at Emory University in 2017: it was a gift of Mata, Sybil and Ed Ralston, and Judy and Michael Steinhardt (2017.025.001). Mata also gave an inscribed bronze hydria rim to the museum in 2014 in honour of Jasper Gaunt (2014.023.001). 

The mention of Froelich is important as it appears, in connection with Fortuna Fine Arts, in the history of a Tarentine limestone funerary relief acquired by the Met in 2013. Froelich and Fortuna came together in the history of a Canosan terracotta figure of Zeus that was withdrawn from a sale at Christie’s. The history also mentions Boris Mussienko. This name appears against a bronze Aphrodite on loan to the Met from a private collector and returned to Italy.

Fortuna then falsely claimed that the Statuette came from Boris Mussienko, a name frequently used by Fortuna and other galleries in its false provenance. Thereafter, the Statuette was sold to a private collector who placed the antiquity on loan at the Met. The Antiquities Trafficking Unit seized the Statuette from the Met in 2025.

The Met seizures may well have serious implications for other collections.

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Ric Elia Reflects on the Antiquities Market

Sofia Cecchi has interviewed Professor Ricardo Elia for the latest Journal of Art Crime (11, 2014, 85-86). Elia reveals that he first came across the issue of looting when he was excavating as a student in what is now FYROM. He reflects on his famous quote, "Collectors are the real looters". He comments on the weakness ("loophole big enough to drive a truck full of loot through") of the AAMD Guidelines over the acquisition of antiquities and ancient art.

He was asked about his quantitative study of Apulian pottery, and he finds claims made by Carlos Picon that acquisitions by New York's MMA are documented as "ridiculous". (It would have been interesting for Elia to have commented on Dyfri Williams' dismissal of his research.)

Elia is firm over the need to criminalize the looting of antiquities and calls for gaol terms and hefty fines.

"The time of illicit acquisitions is long gone"

I take encouragement from Brunilde Sismondo Ridgway's helpful review article of the new Metropolitan Museum of Art catalogue, Art of the Classical World in the Metropolitan Museum of Art: Greece, Cyprus, Etruria, Rome (2007).

She makes her views crystal clear:

"the very Trustees of the museum number among them some notable, and notorious, collectors of illegally excavated antiquities, whose generous financial support, on the other hand, has significantly contributed to the renovation of the galleries."

Her criticism heads right to the top of the curatorial department:

"This difficult situation has not been improved by some careless comments by the very author of this grand classical installation. Dr. Picón, in an interview granted to Rebecca Mead and published in The New Yorker of April 9, 2007, appears to have poked fun at archaeologists who are less skilled than tombaroli in finding valuable objects, and to have minimized the importance of the findspot in favor of the aesthetic value of the works of art."

As Ridgway has observed, the catalogue presents some interesting donors and some unanswered questions (see also "Counting Gigantes in New York").

The apparent disregard for and mocking of archaeological ethics by senior curatorial staff at the MMA brings these wise words from Ridgway:

"this very storm over Dr. Picón's comments may have served to stress to the Metropolitan Trustees, its director, and all its curators, that the time of illicit acquisitions (whether by gift, loan, or purchase) is long gone."

Time will tell.

Animal rights and archaeologists: a strange comparison?

There is clearly a link being made between animal rights and the discussion over the looting of archaeological sites.

In July 1990 the 'Cycladic and Classical Antiquities from the Erlenmeyer Collection: the Property of The Erlenmeyer Stiftung (A Foundation for Animal Welfare)' were auctioned at Sotheby's in London. The sale catalogue gave details of the projects assisted by the Foundation. They included helping to 'finance the "Save the Elephant" campaign of WWF'. It is perhaps ironic that money raised from antiquities looted from archaeological sites in the Greek islands, including the infamous Keros haul, should help to preserve African elephants from being blasted away by poachers seeking to provide the market with ivory tusks.

Talking of shotguns, take a thought for the wildlife of Texas. Carlos Pícon (now of the Metropolitan Museum of Art in New York) recently described his relationship with the collector Gilbert Denman during his time at the San Antonio Museum of Art. The New Yorker reported, 'Pícon learned to shoot, in order to participate in weekend house parties dedicated to boar-hunting, a pastime that is to Texas billionaries what golf is to those in the Northeast'.

Pícon was asked to comment on the 'suggestion that the collecting of antiquities will eventually earn the same degree of opprobrium that the wearing of fur has acquired in some quarters'. He 'lifted a derisive brow. "I don't have a fur coat, but I would like to have one".'

Protecting endangered animals and supporting animal rights can, perhaps, be similar to protecting an endangered archaeological resource or supporting the rights of national governments to reclaim and protect their cultural property. The suggestion that the naming of a museum gallery in honour of collectors could be compared with the renaming of an African game reserve to celebrate with poacher with the largest 'bag' is not lightly made. (See K. Taylor, "Shelby White in Center Court at the Met." The New York Sun May 1, 2007.)

But the language is getting stronger. The Oxford-based academic Sir John Boardman spoke out on the issue in a 2006 interview for Apollo. (The text of the interview, 'A Classical Warrior', can be located conveniently on the website of Phoenix Ancient Art.)

'Now I find I need to speak out against a highly politicised lobby of archaeologists who are, I think, responsible for what amounts to a witch-hunt of those who disagree with them, especially collectors, but with severe implications also for museums. They put one in mind sometimes of the more fanatical animal-rights activists'.

Do we accuse those who wish to put an end to the slaughter of elephants as fanatics? Do we dismiss then as activists?

Of course not.

The generosity of Giacomo Medici

The hand of Giacomo Medici is sometimes hard to discern. The Medici Conspiracy (see the review article by Gill & Chippindale) has demonstrated the way that the route from the Etruscan grave to a display case in some North American museum has been obscured.

But a browse through the 'vase' catalogue of the San Antonio Museum of Art presents two fragmentary Greek pots as gifts of Giacomo Medici.

The first is a Rhodian oinochoe fragment in the Middle 'Wild Goat Style' (inv. 88.18.2; cat. no. 177) and the second is the fragment from an Athenian black-figured cup showing a charioteer (inv. 88.18.1; cat. no. 179).

It is important to stress that there is nothing suspect about their histories. Both came from the distinguished collection of the Comtesse de Behague. And both were auctioned at Sotheby's in Monaco on 5 December 1987 (lot 142, a and b).

I understand (from the present curator in San Antonio) that both pieces were handed over to Carlos Pícon, the then curator, in Monaco on 6 December 1987, i.e. the day after the sale.

In a recent interview for The New Yorker (April 9, 2007) it was noted that Pícon only knew Medici 'glancingly'.

Pícon speaks about the meeting:

'I saw Medici at the end of the auction. A friend of mine was with me and said, "You bought that fragment that Carlos wanted for San Antonio," and he said, "I will give it to him." I thought it was rather touching. He put it in my hands and said, "Give it to your museum." He had never been to Texas. He had never seen my museum.'

Medici's generosity is indeed touching.