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Proving Provenance: The Fight for the Restitution of Mexican Antiquities

Like other nations rich in archaeological material, Mexico has suffered a great deal of looting and illegal export of its cultural heritage over the past decades. Despite enacting protective legislation dating back to the late 19th century, cultural heritage objects from Mexico continue to be smuggled out of the country and sold on the open market. These items, many of which hail from pre-Columbian indigenous societies such as the Maya and Aztec, are highly prized by museums and private collectors alike. Stelae (free-standing commemorative monuments erected in front of pyramids or temples and made from limestone), polychrome vessels, jade and gold funerary masks, stone altars, and sculptured figurines are among the many types of objects offered for sale. This is a profitable business worldwide; according to Sotheby’s, its auctions of these items have reached nearly $45 million over the past 15 years. (One of our previous blog posts details the theft of pre-Columbian antiquities worth over $20 million from Mexico’s National Museum of Archaeology on Christmas Day 1985, and how authorities recovered them 3 years later.)

 

Pre-Colombian Stelea
Photo Credit: National Museum of Anthropology in Mexico City.

In light of these circumstances, Mexico has recently taken several concrete steps to strengthen efforts to track down and recover cultural and historical artifacts. In 2011, the National Institute for Anthropology and History (NIAH) announced the launch of a new unified database for cultural property, which allows for the inscription of cultural goods from anywhere within Mexico. Each item in the database is provided with a unique ID number and accompanying details (such as type, material, dimensions, and provenance), resulting in a publicly accessible and standardized system. This is an invaluable tool that will aid the government in protecting the country’s approximately 2 million movable artifacts.

 

Mexico has also implemented measures to further protect heritage items already removed from within its borders. In March 2013, the governments of Mexico, Guatemala, Costa Rica, and Peru contested the sale of pre-Columbian art from the Barbier-Mueller Museum at Sotheby’s Paris. All these countries have similar laws vesting ownership of antiquities in the State; therefore, they alleged that the sale was illegal because the objects were not accompanied by export licenses or sufficient provenance information confirming that the works were removed prior to the passage of the relevant laws. Nonetheless, the sale went ahead as planned. A French diplomat stated that the items did not appear on the Interpol database or ICOM Red List, and as such were not considered looted or stolen. (This statement was made even though pre-Columbian antiquities are underrepresented on both lists.) Ultimately, nearly half of the lots failed to sell, and the total sales proceeds fell far below the pre-sale estimate. Public pressure may have played a role in staving off bidders.

 

Despite this controversy, auctions of similar items have continued. In September 2019, Mexico and Guatemala jointly denounced the auction of pre-Columbian artifacts at French auction house Drouot. The auction house claimed the sale was “perfectly legitimate” and proceeded to sell 93% of the lots, netting $1.3 million for the sale. In response, the consigner, Alexandre Millon, stated that he was a victim of “opportunistic cultural nationalism.” This stoked further tension among countries of origin and market countries.

 

 

Teotihuacan mask, ca. 450–650
Photo Credit: Christie’s

In February 2021, NIAH lodged a formal legal claim against Christie’s over the sale of 33 pre-Columbian objects, including a stone sculpture of the goddess of fertility Cihuatéotl estimated at $722,000-$1.08 million and a Teotihuacán green stone mask of Quetzalcóatl estimated at $420,000-$662,000. Notably, the mask previously belonged to French dealer Pierre Matisse, son of artist Henri Matisse. While Christie’s maintained that it was confident in the legitimate provenance of the items, historian and archaeologist Daniel Salinas Córdova indicated that the circumstances under which the items had left their places of origin was still unclear. He reiterated that auctioning pre-Columbian antiquities is dangerous because it “promote[s] the commercialization and privatization of cultural heritage, prevent[s] the study, enjoyment, and dissemination of the artifacts, and promote[s] archaeological looting.” Although the sale proceeded and the legal claim has not yet been resolved, Mexico continues to enforce its patrimonial rights.

 

In September 2021, ambassadors from 8 Latin American Countries (Mexico, Bolivia, Costa Rica, Colombia, Ecuador, Guatemala, Panama, and Peru) banded together to stop an auction of pre-Columbian artifacts in Germany. Mexican Secretary of Culture Alejandra Faustro sent a letter to the Munich-based dealer, Gerhard Hirsch Nachfolger, citing Mexico’s 1934 patrimony law and reiterating the government’s commitment to recovering its cultural heritage. Mexico’s ambassador to Germany, Francisco Quiroga, even visited the auction house in person in an attempt to block the sale. A complaint was also filed with the Attorney General’s Office in Mexico. The auction took place, but of the 67 pieces identified as being Mexican, only 36 sold. Notably, one of the highlights – an Olmec mask with an estimate of €100,000 – did not achieve the reserve price.

 

That same month, Mexico announced the creation of a new team composed of National Guard personnel tasked with the recovery of stolen archaeological pieces and historical documents. The nation’s president, Andres Manuel Lopez Obrador, credited Italy with the idea. He stated, “Italy has a special body to recover stolen archaeological pieces. We are going to follow that example, I have given the instruction for the National Guard to constitute a special team for the purpose,” Lopez Obrador said.

 

As recently as November 2021, the Mexican government issued a letter questioning the legality of two auctions in Paris (at Artcurial and Christie’s) selling pre-Columbian objects. Embassy officials and the Mexican Secretary of Culture asked for the sales to be halted on the grounds that they “stri[p] these invaluable objects of their cultural, historical and symbolic essence, turning them into commodities or curiosities by separating them from the anthropological environment from which they come.” Only a few months earlier (in July), the governments of Mexico and France had signed a Declaration of Intent on the Strengthening of Cooperation against Illicit Trafficking in Cultural Property, which was meant to signal a recommitment towards the restitution and protection of each nation’s cultural heritage. Although Mexican officials appealed to UNESCO, bidding opened as scheduled on Artcurial’s online platform (with lots priced at $231-$11,600) and Christie’s earned over $3.5 million in its own sale. The day before the Christie’s sale, the embassies of Mexico, Colombia, Guatemala, Honduras, and Peru in France issued a joint statement decrying the “commercialization of cultural property” and “the devastation of the history and identity of the peoples that the illicit trade of cultural property entails.”

 

Nonetheless, Mexico’s persistence has borne fruit. In September 2021, it was able to halt the sale of 17 artifacts at a Rome-based auction house. The Carabinieri TPC seized the objects after an inspection revealed that they had been illegally exported, and returned them to Mexico in October. The successful recovery of these objects demonstrates the importance of international cooperation. Many governments’ resources are stretched thin policing their own borders for cultural heritage smuggling and theft, and therefore greatly benefit from assistance by foreign law enforcement. It is also an example of how successful cultural diplomacy can be in the recovery of such objects.

 

The letter signed by Hernán Cortés recovered by the Mexican authorities.
Photo Credit: The National Archives

In addition to law enforcement and government agencies, laypeople have a crucial part to play in the recovery of looted or illegally exported artifacts. For instance, a group of academics in Mexico and Spain helped thwart the sale of a 500-year-old letter linked to conquistador Hernán Cortés. The letter, dating back to 1521, had been offered for sale by Swann Galleries in New York in September 2021. It was expected to fetch $20,000-$30,000. By searching online catalogues of global auction houses and a personal trove of photographs depicting Spanish colonial documents, the group traced the letter’s provenance to the National Archive of Mexico (NAM), a UNESCO World Heritage Site. An image of the letter had been taken by a Mormon genealogy project, which provided supporting evidence. Furthermore, the group unearthed 9 additional documents linked to Cortés that had been sold at auction – including at Bonhams and Christie’s – between 2017 and 2020. One of these had been sold previously at Swann Galleries for $32,500 and later displayed at the Morgan Library & Museum in New York as part of an exhibition. It was confirmed that all the documents had been stolen from the NAM – they were surgically excised from books – and illegally exported. In response, Swann Galleries cancelled the planned auction. The purchaser of the aforementioned letter returned it in good faith to the auction house. Mexico’s Foreign Ministry enlisted the help of the US Department of Justice to repatriate the 10 manuscripts, in cooperation with the Manhattan District Attorney’s Office and Homeland Security Investigations. The manuscripts were formally handed over in September 2021.

Another “Beastly” Restoration – Spanish Efforts Continue to Baffle the Art World

First restoration attempt

Earlier this summer, familiar news came from Spain. Yet another amateur restorer tried his hand at conservation work, with predictably disastrous results. In this case, however, the painting was disfigured not only once – but twice. A private collector in Valencia entrusted a copy of The Immaculate Conception of Los Venerables by Bartolomé Esteban Murillo to a furniture restorer for cleaning. 1,200 euros later, this was the result:

 

 

Second restoration attempt

Naturally, the collector was stunned – this led the restorer to attempt to fix the problem, which only made the situation worse:

 

 

The collector finally sought a professional art restorer to correct the damage, with both his finances and the painting worse for wear.

Despite patrimony laws  protecting cultural property at both the local and national levels, art restoration is an unregulated field in Spain. María Borja, the coordinator of Valencia’s branch of the Professional Association of Conservators Restorers of Spain (Asociación Profesional de Conservadores Restauradores de España, ACRE), indicates that as a result, botched restorations are common and may cause “irreversible damage” to artworks. This legislative blind spot has made Spanish heritage vulnerable to third party intervention.

“Beastly” museum
© Leila Amineddoleh

Museum in Borja © Leila Amineddoleh

The Immaculate Conception is the latest in a series of Spanish “restoration fails” that rose to prominence in 2012 with the so-called “Beast Jesus.” Cecilia Giménez, an elderly widow and “amateur painter,” attempted to restore a fresco of Jesus crowned with thorns (Ecce Homo) located at her local church in Borja, Zaragoza. Her efforts fell far short of the mark and went viral, spawning thousands of memes and parodies over media outlets. It even served as the focus of tourism, drawing 150,000 tourists from all over the world to see the “terrible work of art” in person. There is now even a museum devoted to “Beast Jesus” in Borja. Nonetheless, the fresco will remain beastly since restorers are unable to undo Ms. Giménez’s work.

Site of the St. George “restoration”
© Leila Amineddoleh

More recently, in 2018 the church of San Miguel de Estella in Navarre hired an art teacher to restore a sculpture of Saint George. The result was “something out of a Disney cartoon” with “a pink face, beady eyes, and a garish red and gray suit of armor.” In the words of the municipal mayor, “the restoration leaves much to be desired.” Qualified restorers then worked for over 300 hours to remove the new material from the sculpture and restore it to its original dignity. Both the church and amateur restorer were fined 6,000 euros and the restoration cost nearly 36,000 euros in total. Although the end result is much more pleasing to the eye, some of the original polychrome was lost due to the use of improper paint during the prior intervention.

That same year, another “sacrilegious restoration” took place in the village of Rañadorio, Asturias. A local tobacco shop owner, María Luisa Menéndez, gave a 15th-century trio of wooden sculptures a “neon makeover,” including eyeliner and lipstick. Ms. Menéndez defended her colorful interpretation as a necessity but the regional minister for culture termed it “more a vengeance than a restoration” since the sculptures had been restored 15 years earlier and were never painted in the first place. Many on Twitter, including ACRE, started using the hashtag #SOSPatrimonio (#SOSPatrimony) to call attention to this ongoing trend and demand governmental intervention before more misguided amateurs decide to provide assistance.

These cases show that collectors must be wary of entrusting their valuable property to inexperienced workers in order to save money. Not only will this be costlier in the long run, but the damage to an artwork may be permanent, resulting in a loss of resale and aesthetic value. It is doubtful that a serious collector would want to purchase “Beast Jesus” and install it in their home, except for the sake of novelty. However, novelty does not last forever. The historical importance of heritage is also a consideration – amateur restorations can strip artworks and objects of their historical context and important details may be lost forever. This is a blow both to private collectors and the public at large. At Amineddoleh & Associates, we strive to assist collectors in making the best decisions for their collections and safeguard artworks for future generations.

The phenomenon of abandoned towns and Spain’s financial crisis have heightened the need for more robust ethical and professional standards in the field of heritage restoration and protection. Bungled restorations are just the tip of the iceberg; aggressive cleaning of historical building façades, using protected sites as parking spaces, and theft from local churches all threaten cultural objects in Spain.

 

Amineddoleh & Associates’ Interview about the Controversial King Tut Exhibition

Our founder, Leila Amineddoleh, was interviewed by Turkish news channel, TRT, to discuss a controversial international exhibition of objects from the tomb of Egypt’s famed King Tutankhamen. (A video of the interview is below.) The discovery of King Tut’s tomb in 1922 sparked a resurgence in the interest in ancient Egypt. Any exhibition related to his remains and treasures is sure to attract huge revenue and worldwide attention. The exhibition, Tutankhamun: Treasures of the Golden Pharaoh, features 150 objects owned by Egypt.  

Nations enact cultural heritage laws to protect their heritage for the benefit of their citizens, future generations, and all mankind. Artifacts have a value greater than their commercial prices, and it is the responsibility of nations to protect these resources. In fact, Egypt has some of the world’s oldest laws protecting antiquities and regulating their trade. Egyptian antiquities have long been a source of fascination for Western collectors. Due to that market interest, Egypt has protected its artifacts with legal tools. The nation actively safeguards its antiquities with cultural heritage protection laws dating back nearly two centuries. The first law, an 1835 decree, banned the unauthorized removal of antiquities from the country. During the intervening nearly two centuries, the nation has periodically updated those laws to effectively protect ancient sites and prevent looting.

The Supreme Council of Antiquities (Egypt’s cultural ministry) may have broken the nation’s cultural heritage laws by engaging a private commercial company, IMG, to exhibit valuable artifacts in shows around the world. However, there are some vague terms in Egypt’s cultural heritage law that might make it difficult for an Egyptian lawyer to successfully sue the Supreme Council. (For example, the law does not define what makes certain artifacts “unique” and prohibited from loans.)

It is easy to understand how some Egyptians feel betrayed by the Supreme Council. The nation’s rich cultural heritage was not intended to be exploited by government officials for their own personal use or financial gain. The nation’s antiquities play a central role in its citizens’ identities and the identity of Egypt. Some Egyptians feel that artifacts from King Tut’s tomb are a national treasure and so they should not be touring internationally, but should remain in Egypt, their home. The Arab republic’s cultural heritage laws were passed with the purpose of protecting heritage for future generations and to protect the property from exploitation and destruction. In fact, the introduction (written by Zahi Hawass) of the 2010 amendment to Law 117 addresses the importance of heritage protection for the “honor of Egypt and Egyptian history.” It also states, “The memory of the homeland is the right of future generations, and our duty to them is to keep this memory alive and vibrant.”

Copyright: National Geographic

Whereas the Egyptian government touts the value of the international exhibition, stating that it has brought in millions of dollars to the country, there is potential harm. The objects from the exhibition will not be back in Egypt in time for the monumental opening of the Grand Egyptian Museum (a $1 billion project), and the exhibit may divert tourism revenue away from Egypt and instead to the commercial exhibition company, IMG. In addition, any international exhibition is accompanied by risks inherent in traveling and reinstallation.

Various elements addressed in the BBC documentary about the exhibition seem to suggest that the loan is the result of political corruption, with former and current members of the Supreme Council of Antiquities receiving financial benefits by agreeing to the loan. Private companies have hired former and current members of the Supreme Council to serve as tour guides, sell products, and engage in commercial activity related to Egyptian antiquities. The current exhibition schedule is indefinitely delayed during the COVID-19 pandemic, but it will be interesting to see how the controversy is resolved and whether the artifacts from the “Boy King” will return home in time for the opening of the Grand Egyptian Museum.

Return of Golden Coffin

Today our founder had the honor of attending the repatriation ceremony of the Golden Coffin of Nedjemankh to the nation of Egypt. Leila served as the Egyptian cultural heritage law expert for the Manhattan DA’s Office for the repatriation of this spectacular object. The coffin was looted in 2011 and purchased by the Metropolitan Museum of Art (the “Met”) in 2017 for $4 million. During today’s repatriation ceremony, the DA quite appropriately addressed the importance of due diligence and a commitment to recognizing red flags for stolen antiquities. In this matter, the coffin went on the market and was purchased by the Met in 2017, six years after the start of the Egyptian Revolution. In addition, the magnificent artifact had never been published or studied by scholars. And finally, the paperwork that accompanied the coffin was forged. With proper due diligence and confirming the veracity of the papers, the forged nature of the documentation could have been uncovered. As noted during today’s ceremony, there are ties between criminal networks and the illicit antiquities market, and so it is important to avoid the purchase of stolen items. The District Attorney also acknowledged the Met’s cooperation in returning the priceless object. 

The exquisite coffin is now returning to Egypt where it will be exhibited in a state museum. Eventually it will be displayed in the Grand Egyptian Museum after its opening in 2020. As noted by the Egyptian Minister of Foreign Affairs, the coffin is returning to its home, but it is valuable to all mankind.

 

Repatriation of Egyptian Coffin from the Metropolitan Museum of Art

© Metropolitan Museum of Art

Our founder, Leila Amineddoleh, worked as a cultural heritage law expert with the Manhattan DA’s Office in furtherance of the repatriation of a looted coffin from Egypt. Yesterday it was announced that the Metropolitan Museum of Art would return the exquisite coffin to Egypt. The prized golden-sheathed artifact was featured in an exhibition, “Nedjemankh and His Gilded Coffin,” that opened last year. The 1st BC century coffin was inscribed for Nedjemankh, a high-ranking priest of the ram-headed god Heryshef of Herakleopolis. The museum featured the coffin as the highlight of an exhibition, set to close on April 21. However, it was closed earlier this week after the museum agreed to repatriate the object after learning that it was looted from Egypt in 2011.

The museum purchased the item for $3.95 million from Parisian art dealer Christophe Kunicki in 2017. The coffin was accompanied by false provenance information suggesting that the item was legally exported. But in reality, the work was recently looted and smuggled out of the Middle Eastern country in contravention of its cultural heritage laws.

The museum publicly announced the high-profile repatriation and stated that it will review its acquisition program to prevent such occurrences in the future. In 2017, the Manhattan DA’s Office formed the nation’s first antiquities trafficking unit. Ms. Amineddoleh is proud to consult with the trafficking unit as a cultural heritage law expert. Led by Matthew Bogdanos, the unit has facilitated a number of repatriations from the Metropolitan Museum of Art within the past few years, including the return of an Etruscan vessel and a marble bull’s head from Lebanon.