Showing posts with label Schultz. Show all posts
Showing posts with label Schultz. Show all posts

Monday, 15 December 2025

Further returns to Italy from the San Antonio Museum of Art

Source: San Antonio Museum of Art
In addition to the objects deaccessioned by the San Antonio Museum of Art in September 2025, the museum  had done the same for another group in January 2022. These were mentioned (without significant detail) in a press release from the Manhattan DA in 2023. These items included material that surfaced through various sources:

Christie's (Geneva)
Attic red-figured lekythos. Inv. 86.134.75. Surfaced through Christie’s (Geneva) May 1979; Sotheby’s (London) May 1982. 

Christie's (London)
Attic white ground lekythos. Inv. 86.134.170. Surfaced through Christie’s (London) July 1983; July 1985. 

Frederick Schultz
Attic red-figured head kantharos. Inv. 91.24. Surfaced through Frederick Schultz, 1989. 

Galerie Günter Puhze
Attic black-figured lekythos. Inv. 91.80.1. Galerie Günter Puhze, 1989. 

Palladion Antike Kunst
Attic black-figured amphora. Inv. 86.134.31. Surfaced through Palladion Antike Kunst; Sotheby’s (London) December 1981. 
Attic red-figured oinochoe. Inv. 86.134.58. Surfaced through Palladion Antike Kunst; Robert Hecht. 

Robin Symes
Portrait of Hadrian. Inv. 2005.1.81. Robin Symes; Royal-Athena Galleries; Sotheby’s (New York) June 1992. [Image identified in the Medici Dossier.]
"Dating to 200 C.E., the marble head of the Emperor Hadrian was first documented uncleaned and covered in marine encrustations in a polaroid photograph. The polaroid was recovered by Italian law-enforcement authorities during a raid of the office and warehouse of well-known antiquities trafficker Giacomo Medici in 1995. After being smuggled out of Italy by Medici and his co-conspirators, the piece was then laundered with false provenance by dealer-trafficker Robin Symes before being sold in New York County in 1992." (Manhattan DA)
Sotheby's (London)
Corinthian olpe. Inv. 93.17. Surfaced in Sotheby’s (London) July 1990; Charles Ede. 
Attic black-figured amphora. Inv. 86.134.173. Surfaced in Sotheby’s (London) July 1985. 
Attic red-figured lekythos. Inv. 86.134.79. Surfaced through Sotheby’s (London) May 1982. 

Alfredo Turchi
Head of Hermes. Inv. 86.134.145. Sold by Alfredo Turchi.

The head of Hermes was excavated in Rome in the 19th century. 

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Saturday, 4 February 2023

Further returns to Italy from San Antonio Museum of Art and Shelby White

Oinochoe fragment
attributed to the Harrow painter
returned from
the San Antonio Museum of Art.
Source: San Antonio Museum of Art

The Manhattan DA has reportedly returned 14 more antiquities to Italy: though the objects and images presented at the press announcement counted 16 ("D.A. Bragg Returns 14 Stolen Antiquities to Italy", Manhattan DA February 2, 2023). Two sources were acknowledged: Shelby White and the San Antonio Museum of Art. The third, the source of a silver coin, was left anonymous in the press release.

At least three of the objects appear in the Glories of the Past catalogue of the Shelby White and Leon Levy collection. The release gives further information about the Attic black-figured hydria attributed to the Priam painter.
The piece first surfaced in Italy after being looted by Giovanni Franco Becchina, a well-known antiquities trafficker. From Italy, the piece was then smuggled and laundered by Paris-based Robert Hecht. Hecht ultimately sold the piece with false provenance to Shelby White in New York County in 1989.
These add to the 14 pieces featured in the catalogue that have been returned to Greece, Italy and Turkey.

The nine pieces featured in the images at the press statement are derived from the San Antonio Museum of Art. The objects are derived from several sources: Sotheby's in London; Christie's in London and Geneva; Galerie Palladion Antike Kunst; Galerie Günter Puhze; Royal Athena Galleries; Robin Symes. For example, the oinochoe fragment attributed to the Harrow painter surfaced through Galerie Palladion Antike Kunst, and was sold to Gilbert M. Denman, Jr. by Robert Hecht.  The nine objects may be added to other pieces that were handed over in 2022. We are also expecting further details about three other objects derived from Frederick Schultz that have been handed over by the museum. 

Three other objects featuring in the press statement have yet to be linked in a formal way to a specific collection though Christos Tsirogiannis has identified two of them in the Becchina archive and one in the Schinousa archive. 

The final piece is a silver coin.
The Sicily Naxos Coin. Minted circa 430 B.C.E in the Greek colony of Naxos, on Sicily, this silver coin features the bearded Dionysus on one side and his squatting drinking partner, Silenus, on the reverse. The Sicily Naxos Coin first surfaced on the international art market in 2013, when a known trafficker offered the coin for sale with no provenance whatsoever. Prior to its appearance at a London-based auction house, a co-conspirator of the trafficker supplied false provenance for the coin. The Sicily Naxos Coin is currently valued at $500,000 and was among a group of coins seized at JFK airport as it was being smuggled into New York pursuant to an ongoing joint investigation between this Office, HSI, and Italy. At least one individual has been arrested in the course of this investigation with more to follow.
Three Shelby White pieces, nine objects from San Antonio, one silver coin, and three other pieces equal 16 objects (not 14).

Objects from the San Antonio Museum of Art and in the Shelby White and Leon Levy collection were the subject of an extended discussion by Chippindale and Gill in the American Journal of Archaeology back in 2000. 
Chippindale, C., and D. W. J. Gill. 2000. "Material consequences of contemporary classical collecting." AJA 104: 463-511. [DOI]
LM expects to add further detail to this summary in due course.

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Thursday, 6 August 2009

"Stolen, illegally excavated or illegally exported"

I have earlier commented on the use of the word "stolen" as it relates to antiquities. My list was not intended to be exclusive, and it was not providing a definition of "stolen" from a legal perspective. It was a comment on my personal use of the word. I am grateful to Washington attorney Peter Tompa for pointing out that my usage, as previously outlined, was overly restrictive and does not accord with the legal definition of “stolen” established in the U.S. courts. Nor does it accord with the U.K. law. My personal position, as a British citizen, is informed by UK legislation and in particular The Dealing in Cultural Objects (Offences) Act 2003. (Note: the Act does not cover Scotland.) The guidance notes to the Act make it clear that the legislation was created to make
"a criminal offence of trading in cultural property in designated categories from designated countries which had been stolen, illegally excavated or illegally exported from those countries" (3).
So let me take a hypothetical example. Imagine a fourth century BCE cemetery in Italy ripped apart by mechanical diggers in order to obtain some Apulian pots. (I am not sure "illegally excavated" quite describes the process.) The Apulian pots are then illegally transported across the Italian border to Switzerland. In the next stage the pots are offered for sale in, say, London. My understanding is that anyone knowingly dealing in such objects would be committing an offence under The Dealing in Cultural Objects (Offences) Act 2003. The pots had been removed in an illicit way from their archaeological context and then been removed from their country of origin. Tompa points to the Archaeological Institute of America's comment,
many countries that are rich in archaeological resources have enacted national ownership laws. This means that any antiquity in the ground at the time the ownership law was enacted is the property of the nation. If such an artifact is dug up and removed from the country without permission it is stolen property, and remains so even after it is brought to the United States. Those objects should be dealt with in the same way as one would treat any other stolen property.
These principles are derived from the decision, United States v. Schultz. The issue is helpfully explained by Patty Gerstenblith, "The McClain/Schultz doctrine: another step against trade in stolen antiquities", Culture Without Context 13 (Autumn 2003). She drew attention to the importance of United States v. McClain, a case relating to antiquities from Mexico. The more significant case was United States v. Schultz linked specifically to archaeological material from Egypt. The issue, as Gerstenblith has presented it ("Recent developments in the legal protection of cultural heritage", in Neil Brodie, Morag M. Kersel, Christina Luke and Kathryn Walker-Tubb (eds.), Archaeology, Cultural Heritage, and the Antiquities Trade (University Press of Florida, 2006) 71), can be summarised as follows:
After two lengthy hearings on these questions, the court issued its opinion in January 2002, holding that property taken in violation of a national ownership law is still stolen property, even after entering the United States.
There were implications for those who dealt with recently surfaced archaeological material. The court made a statement (333 F.3d, at 410 quoted in Gerstenblith, "Recent developments", 72-73):
Although we recognize the concerns raised by Schultz and the amici about the risks that this holding poses to dealers in foreign antiquities, we cannot imagine that it "creates an insurmountable barrier to the lawful importation of cultural property into the United States." Our holding does assuredly create a barrier to the importation of cultural property owned by a foreign government. We see no reason that property stolen from a foreign sovereign should be treated any differently from property stolen from a foreign museum or private home. The mens rea requirement of the NSPA will protect innocent art dealers who unwittingly receive stolen goods, while our appropriately broad reading of the NSPA will protect the property of sovereign nations.
I respect the US court decision in the way that it interprets the word "stolen". Where do we move from here? The debate needs to revolve around how to safeguard our cosmopolitan past. Let me close with a further quote from Gerstenblith ("Recent developments", 74):
The clear message that [the Schultz] decision sends to the art market community should decrease the desire to trade in undocumented antiquities and thereby reduce the incentives for the initial looting of sites.
I share that desire.

Another Bürki object returns to Italy

Source: MMA A psykter column-krater attributed to the Troilos painter was deaccessioned by New York's Metropolitan Museum of Art in June...