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France Desmarais International Criminal Police Organization (INTERPOL), Criminal Organizations & Drugs Sub-Directorate International Institute for the Unification of Private Law (UNIDROIT) Italy, Arma dei Carabinieri, Carabinieri for the Protection of Cultural Heritage (TPC) Lebanon, Ministry of Culture, Directorate General of Antiquities Mali, National Museum of Bamako Switzerland, Federal Office of Culture, Specialized Body for the International Transfer of Cultural Property Turkey, Ministry of Culture and Tourism, General Directorate for Cultural Heritage and Museums, Department for Combating Illicit Trafficking of Cultural Property United Kingdom of Great Britain and Northern Ireland, University of Glasgow, Trafficking Culture United Nations Educational, Scientific and Cultural Organization (UNESCO), Culture Sector, Division for Heritage (Section for Cultural Heritage Protection Treaties) United Nations Office on Drugs and Crime (UNODC), Division for Treaty Affairs, Organized Crime and Illicit Trafficking Branch United States of America, Department of Justice, FBI, Art Theft Program, Art Crime Team World Customs Organization (WCO), Regional Intelligence Liaison Office for Western Europe (RILO WE) xii
Günther Wessel Dealers and Collectors, Provenances and Rights: Searching for Traces In the summer of 2014, I wrote to several antiquities dealers in Germany to discuss the trade in archaeological finds, both legal and illegal. In my letter, I observed that ‘serious accusations – especially by archaeologists – are relentlessly levelled against the trade in antiquities and the dealers: a large proportion of the business is thought to be based on the sale of illicit objects from excavations. There is talk of handling stolen objects that have been looted, of indirect incitement to looting, obscured provenances, smuggling and exploitation of legal grey areas.’ Few were those who responded: just as most of the dealers ignored my enquiry – in one instance the answer came through his lawyer – so too did the auction houses remain utterly silent. The only person willing to talk to me was Ursula Kampmann. Ursula Kampmann is the spokesperson of the International Association of Dealers in Ancient Art (IADAA), an association of antiquities dealers from Europe and the U.S.A and, at the same time, a lobby organization founded in 1993. Quoted below is the opening sentence of the IADAA ‘statement’, which can be found online: IADAA stands firstly for the right of the trade, collectors and museums to legally acquire, own, sell and donate antiquities from the ancient world encompassed by the Mediterranean, Europe and the Near East. Ursula Kampmann’s enthusiasm for collecting is manifest as she evokes the fascination collectors nurture for history. ‘No journey back into the past could ever be so direct and concrete an experience as that of collecting,’ she says. But what is the provenance of the antiquities for sale in auction catalogues and proposed by art dealers? ‘Well,’ she explains, ‘History makes clear that collecting is an old activity, for people have been collecting since the Middle Ages, but it was during the Renaissance that the occupation flourished.’ She evokes the cultural exchanges between the Humanists, their unwavering curiosity for the past – a time when the first major collections of ancient art came into being. ‘The life of goldsmith and sculptor Benvenuto Cellini illustrates this passion well. He used to stand on the edge of Rome’s city walls, and intercept farmers who came in from their fields and would buy the objects they had found plowing. The greatest collectors had tens of thousands of objects in their collections.’ Is that where the antiquities come from? Michael Müller-Karpe, an archaeologist working at the Römisch-Germanisches Zentralmuseum in Mainz, shakes his head before such a discourse. ‘That is a some wornout fairytale,’ he says, admitting that old collections have indeed existed – “curiosities” seamlessly collected by aristocrats for hundreds of years. Müller-Karpe remarks, however, that the number of objects from such collections is negligible compared with what the market offers. Furthermore, he continues, insofar as these old pieces had been part of these collections for centuries, they had most likely been documented previously, and in many places: diaries, copper engravings for the earliest sources, newspaper articles or other types of publication in more recent times. ‘Unrecorded objects were deemed so worthless that heirs discarded them systematically,’ he explains. Glasgow archaeologist and crime researcher Neil Brodie observes that ‘only very, 1
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Page 5 and 6: Foreword The International Council
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Page 13 and 14: Introduction illegal import and exp
Page 15: Introduction Countering Illicit Tra
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The Protection of Cultural Property
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Museum Security and Risk Assessment
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