A guide to the export and import of cultural goods between Russia ...

Introduction
Who is involved in controlling the movement of art across borders?
The main instrument for controlling the movement of cultural goods across international
borders is the export licence. It is issued in EU countries by the ‘competent authority’, one
or more designated organisations in each country, usually in the heritage or museums
sector. In Russia, export licences are issued by Rossvyazokhrankultura, the Federal Regulatory
Service for Mass Media, Communications and Protection of Cultural Heritage.
Other agencies involved in controlling the movement of art across borders are the customs
authorities and the Police.
The export licence is a sort of passport for cultural goods. It ensures that the goods have
undergone a process of examination and their movement to another country has been approved
by specialists. The goods may be subjected to expert inspection and valuation or
a review of documentation of the object, its value and provenance may take place before
an export licence can be issued.
A violin can be a simple, inexpensive instrument for a child to practise on or it could
be an extremely valuable and rare masterpiece of untold value. A painting could be
centuries old or an expert modern reproduction. How is a customs officer to know the
difference? The system of export licensing is designed to overcome this difficulty. In
some countries it is even possible to get a certificate for objects which, after expert appraisal,
are classified as not requiring an export licence and this can be used as proof
for customs authorities.
How do the regulations vary between countries?
National heritage protection legislation varies considerably from one country to another.
If an art buyer wanted to export a similar cultural object from a number of EU countries to
Russia, they would report quite different experiences for each country.
Although there is a shared basis of EU legislation which applies to exports of cultural
goods from any EU country to Russia, in some countries national regulations are very
much more restrictive than EU legislation. In others, EU legislation is seen as sufficient
for export control, apart from some additional restrictions on exporting major national
treasures from museum collections.
The main differences our imaginary art buyer would experience would be:
• How long it takes to get an export licence (from a few days to many months)
• Whether they have to present the object for inspection (it is obligatory in some countries
but others only request it where there is a particular need)
• If they have to pay a fee for expert valuation or other duty
• Whether there is an inventory of goods restricted for export that they can consult before
purchase (or other mechanism for avoiding sales of ‘un-exportable’ goods)
• Whether they have any legal right to appeal against the valuation or refusal of an export
licence
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