Perhaps the most famous examples are the Elgin Marbles, the statuary that once adorned the top of the Parthenon and other ancient buildings in Athens that now reside in the British Museum in London. Thus far, the Getty has refused to return the statue, arguing that it was recovered from the Adriatic Sea in 1964 by Italian fishermen in international waters and was therefore not technically looted.Īnd then there are some well-known objects in European museums. However, in December 2018, the Italian high court ruled that another prized Getty holding, the famed 2,000-year-old bronze statue known as “Victorious Youth,” must be returned to Italy. torso of the god Mithras, which had been acquired in 1982 from a private collection.
Paul Getty Museum in Malibu, California, returned three objects to the Italian government after determining they had been stolen, including a second-century C.E.
In 2008, the Met returned the Euphronios Krater, a 2,500-year-old Greek terracotta calyx-krater depicting a scene from the Trojan War, to the Italian government after it was demonstrated that it had been looted. The Getty’s Victorious Youth appeared in the Power and Pathos: Bronze Sculpture of the Hellenistic World exhibit at the National Gallery of Art in DC in 2015–2016. This then raises the question: Are there any other items in museums that should be returned or repatriated to their countries of origin? And when cultural heritage items have been demonstrated to be stolen, they should be returned to their lands of origin. Museums should not purchase unprovenanced goods or items on the black market. The Met will now seek to recoup the nearly $4 million it paid for the coffin. When the Met learned of this, they immediately shuttered the exhibit and made the decision to return the coffin to the Egyptian Ministry of Antiquities. The art dealer who sold the coffin to the Met presented phony documents making it appear that the coffin had proper provenance, including a forged Egyptian export license claiming the object had been legally acquired in 1971. The Met shut down this well-publicized exhibition after evidence surfaced that the centerpiece of the exhibit, the golden coffin, which it had purchased in 2017 from a Paris art dealer, had been looted from Egypt in 2011. Egyptian priest named Nedjemankh, who served the ram-headed god Heryshaf of Heracleopolis Magna. The Met abruptly closed a museum exhibition featuring a gilded coffin of a first-century B.C.E. This past February (2019), the Metropolitan Museum of Art (the Met) in New York had a brush with this underworld, and their response was laudable. All too often when the words “archaeological provenance” and “museum” appear in a sentence together, we hear disturbing stories of black-market antiquities deals, anonymous middlemen, falsified customs paperwork, smuggling activities, federal civil complaints, and forgeries.
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