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Journal articles on the topic 'Art and antiquities market'
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1
Cook, B. F. "The archaeologist and the art market: policies and practice." Antiquity 65, no. 248 (September 1991): 533–37. http://dx.doi.org/10.1017/s0003598x00080121.
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The Keeper of Greek and Roman Antiquities at the British Museum sets out his view of where responsible museums and researchers should find a balance in the difficult matter of unprovenanced antiquities that may be the spoils of recent looting.
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Marks, P. "The ethics of art dealing." International Journal of Cultural Property 7, no. 1 (January 1998): 116–27. http://dx.doi.org/10.1017/s0940739198770109.
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The ethics of dealing in antiquities may be discussed in two parts: first, the ethical standards that govern the trade and its relation to clients, and second, the new legal standards that affect dealers and collectors arising from political ambitions in the international relations between source and market nations. Friction between these competing interests began with the ratification of the UNESCO Convention in 1972 and the passage of the Cultural Property Implementation Act in 1983. Unrealistic political approaches to the illicit trade in antiquities have exacerbated rather than solved the problem. A resolution of the conflicts, contradictions, and ambiguities of the present situation can be achieved by stressing the safety of objects and archaeological sites over partisan goals. A satisfactory denouement can be achieved through a partnership between source countries and the market, through an abandonment of retentionist export controls, and through the establishment of an open, free, and rational coalition. Any solution to present difficulties ought to acknowledge the value of continuing to collect and preserve antiquities in private and public collections.
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Mugnai, Niccolò, Julia Nikolaus, David Mattingly, and Susan Walker. "Libyan Antiquities at Risk: protecting portable cultural heritage." Libyan Studies 48 (August 22, 2017): 11–21. http://dx.doi.org/10.1017/lis.2017.8.
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AbstractThis article provides an outline of the Libyan Antiquities at Risk (LAaR) project, which has developed a reference database and website recording Libyan antiquities that are under threat of being stolen and sold on the illegal art market. Since the Arab Spring in 2011 and the subsequent political instability, the number of antiquities that are trafficked out of Libya has risen sharply. The illustrated reference collection created by LAaR is mainly aimed at customs officials, international agencies, museum curators, the police and cultural heritage sector, to alert them about the likelihood of Libyan provenance of previously unrecorded material of similar appearance to known pieces, and thereby help to prevent the sale of Libyan antiquities on the illegal art market. LAaR is a collaboration between the Society for Libyan Studies and the University of Leicester.
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Tremain, Cara Grace. "Fifty Years of Collecting: The Sale of Ancient Maya Antiquities at Sotheby’s." International Journal of Cultural Property 24, no. 2 (May 2017): 187–219. http://dx.doi.org/10.1017/s0940739117000054.
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Abstract:Pre-Columbian antiquities, particularly those from the Maya region, are highly sought after on the international art market. Large auction houses such as Sotheby’s have dedicated pre-Columbian departments and annual auctions, for which sales catalogues are created. These catalogues offer insight into market trends and allow the volume of antiquities being bought and sold to be monitored. The following study records the public sale of Maya antiquities at Sotheby’s over a period slightly exceeding 50 years from 1963 to 2016. More than 3,500 artifacts were offered for sale during this period, of which more than 80 percent did not have associated provenance information. The data suggests that the volume of Maya antiquities offered for sale at Sotheby’s public auctions have been steadily decreasing since the 1980s, but their relative value has increased. Quantitative studies of auction sales such as this one can be useful in monitoring the market for illegal antiquities and forgeries.
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Ede, J. "Ethics, the antiquities trade, and archaeology." International Journal of Cultural Property 7, no. 1 (January 1998): 128–31. http://dx.doi.org/10.1017/s0940739198770110.
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This article presents the perspective of a long-time dealer in ancient art and antiquities on the many attacks on the antiquities trade. After a brief historical review of collecting and the different national approaches to control of export of archaeological materials, the author presents an analysis of why the more draconian of the legal systems defeat their intended purposes and are themselves unethical in that they promote the destruction of archaeological sites and the black market in antiquities.
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Marrone, James, and Silvia Beltrametti. "“Sleeper” Antiquities: Misattributions in Sales of Ancient Art." International Journal of Cultural Property 27, no. 1 (February 2020): 3–51. http://dx.doi.org/10.1017/s094073912000003x.
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Abstract:“Sleepers” are artworks or collectibles that are undervalued because one or more characteristics go unrecognized. This article discusses 12 sleepers that have been sold at auction on the antiquity market since 2007 whose attribution as antiquities were originally overlooked, either accidentally or deliberately. The objects are presented in the context of a theoretical framework describing both the legal and economic incentives to perform due diligence and to reveal, or “awaken,” a sleeper antiquity. The theory implies that sleepers may arise for several reasons, and the case studies are grouped accordingly. Most pressingly, the analysis identifies two ways in which sellers are disincentivized to be transparent about an object’s identity: when they can exploit legal loopholes to deliberately misattribute an antiquity and mediate export and when they can hide disagreement about an object’s authenticity to mediate its sale. Placing the case studies in the broader market context, we highlight particular areas that should be addressed by policy or regulatory reform. The analysis also has wider applications to other forms of art.
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Merryman, John Henry. "A Licit International Trade in Cultural Objects." International Journal of Cultural Property 4, no. 1 (January 1995): 13–60. http://dx.doi.org/10.1017/s094073919500004x.
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SummaryRetentive nationalism has until recently dominated thinking about the international movement of cultural property, while the international interest in an active licit trade has been ignored and the interests of museums, collectors and the art and antiquities trade have been denigrated. An active licit market in cultural property advances the international interest, provides income to source nations and reduces the harm done by the black market. Trade in “culturally moveable” objects in private hands serves the international interest and is internationally licit, even when it offends national export controls. Source nations can reduce the damage from clandestine excavations by employing more sophisticated domestic controls and feeding surplus archaeological objects to the licit market. The “commodification” objection to an active trade in cultural objects lacks substance. Market nations can provide the most effective political force for development of an active market. They, and the art and antiquities trade, can help source nations finance organization of their cultural property resources for effective participation in a licit international trade.
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Stoll, Cameron Semmes. "The Effects of Judicial Decisions and Patrimony Laws on the Price of Italian Antiquities." International Journal of Cultural Property 19, no. 1 (February 2012): 65–96. http://dx.doi.org/10.1017/s0940739112000069.
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AbstractWhile practitioners of the legal and art and culture industries have traditionally believed their businesses to be independent of the other, the escalating battle over the repatriation of cultural property teaches otherwise. The antiquities market has flourished despite the increase in litigation surrounding some works and the number of works repatriated in recent years, making interdisciplinary study of the market more relevant and necessary than ever. This study establishes that the number of antiquities sold with legally- significant provenance information is steadily increasing as a result of the legal environment. Also, these objects are less risky and therefore sell for higher prices than works with no recorded history of ownership. Finally, evidence indicates that the occurrence of a legal event causes a slight, short drop in the market, followed by a significant rise in prices for the objects with reliable provenance information. In the end, the auction market for Italian antiquities is inexorably linked to activities that have ramifications for the legality of collecting these works.
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Gallagher, Steven. "“Purchased in Hong Kong”: Is Hong Kong the Best Place to Buy Stolen or Looted Antiquities?" International Journal of Cultural Property 24, no. 4 (November 2017): 479–96. http://dx.doi.org/10.1017/s0940739117000224.
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Abstract:The looting of antiquities from archaeological sites has received widespread coverage in the media. Concerns about the loss of heritage have resulted in international multilateral and bilateral agreements intended to prevent the illicit trade in looted antiquities. China has suffered from the looting of its archaeological sites for centuries, but the problem has been exacerbated in recent years because of the increased demand for Chinese antiquities and the consequent sharp increase in market prices. China has requested international assistance to combat the illicit trade in its heritage. It is strange therefore that one of China’s special administrative regions—Hong Kong—also one of the world’s major art markets, retains a “legal absurdity,”1which may protect the buyer of stolen or looted goods from claims for the return of stolen items. This statutory provision may result in the bizarre outcome that goods stolen from a museum or looted from an archaeological site and then purchased from a shop or market in Hong Kong may be protected from claims for their return; this protection may apply even if the loser is the Chinese state.
10
Gill, David, and Christopher Chippindale. "The Trade in Looted Antiquities and the Return of Cultural Property: A British Parliamentary Inquiry." International Journal of Cultural Property 11, no. 1 (January 2002): 50–64. http://dx.doi.org/10.1017/s0940739102771579.
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The British parliamentary report on Cultural Property: Return and Illicit Trade was published in 2000. Three key areas were addressed: the illicit excavation and looting of antiquities, the identification of works of art looted by Nazis, and the return of cultural property now residing in British collections. The evidence presented by interested parties—including law enforcement agencies and dealers in antiquities—to the Culture, Media and Sport Committee is assessed against the analysis of collecting patterns for antiquities. The lack of self regulation by those involved in the antiquities market supports the view that the British Government needs to adopt more stringent legislation to combat the destruction of archaeological sites by looting.
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Hardy, Samuel Andrew. "Narratives of the provenance of art and antiquities on the market and the reality of origins at the source." Acta ad archaeologiam et artium historiam pertinentia 32, no. 18 N.S. (September 13, 2021): 117–24. http://dx.doi.org/10.5617/acta.9022.
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This essay presents the findings of the International Conference on Handling of Cultural Goods and Financing of Political Violence and introduces provenance research that examines the market in Europe for antiquities from Asia and the market in North America for antiquities from Europe. It summarises findings, such as the involvement of violent political organisations, transnational organised criminals and politically-exposed persons (PEPs) in illicit trafficking of cultural objects. It also highlights some foundations for progress, such as enhanced traceability and due diligence in the art market, plus action and cooperation to respond to illicit flows as regional problems. On cover:ANNIBALE CARRACCI (BOLOGNA 1560 - ROME 1609), An Allegory of Truth and Time c. 1584-1585.Oil on canvas | 130,0 x 169,6 cm. (support, canvas/panel/str external) | RCIN 404770Royal Collection Trust / © Her Majesty Queen Elizabeth II 2021.
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Tsirogiannis, Christos. "antiquities market we deserve: 'Royal-Athena Galleries' (1942-2020)." Acta ad archaeologiam et artium historiam pertinentia 32, no. 18 N.S. (September 13, 2021): 147–75. http://dx.doi.org/10.5617/acta.9024.
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On September 13, 2020 a quarter of a century had elapsed since the Swiss and Italian authorities raid in the Free Port of Geneva, on the warehouses of Giacomo Medici, later convicted of involvement in cases of trafficked antiquities. Since then, many other raids followed on properties of other notorious antiquities traffickers, thousands of antiquities were confiscated from them and their invaluable archives were discovered and seized. The research on these archives resulted in hundreds of notable repatriations so far, but mainly in the enrichment of our knowledge about the criminal way in which the so-called ‘reputable’ members of the international antiquities market have been acting since the 1970 UNESCO Convention, which they completely ignored in practice. Despite the numerous occasions on which these ‘reputable’ members were identified as involved, even today they continue to act in the same way, some without any (or known) legal sanctions. This chapter reviews the illicit associations of one of these ‘prominent’ members of the international antiquities market, the ‘Royal-Athena Galleries’ in New York, a gallery run by the antiquities dealer Jerome Eisenberg, who has repeatedly been found selling looted, smuggled and stolen antiquities. I then present seven antiquities, most of them identified in October 2019, one in March 2020, soon before the retirement of Jerome Eisenberg and the closure of ‘Royal-Athena Galleries’ on October 31, 2020. This piece lays out all the relevant evidence from the confiscated archives and combines everyone involved to illustrate the network that ‘circulated’ these seven objects. This case study also highlights all the problems that are ongoing in this research field, proving that essentially nothing has changed since 1995, or even 1970, and we indeed deserve the (illicit) antiquities market we still have. On cover:ANNIBALE CARRACCI (BOLOGNA 1560 - ROME 1609), An Allegory of Truth and Time c. 1584-1585.Oil on canvas | 130,0 x 169,6 cm. (support, canvas/panel/str external) | RCIN 404770Royal Collection Trust / © Her Majesty Queen Elizabeth II 2021.
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Machado, Diogo De Oliveira. "Anti-money laundering regulation on the Brazilian art market." Revista Jurídica da Presidência 21, no. 123 (May 31, 2019): 95. http://dx.doi.org/10.20499/2236-3645.rjp2019v21e123-1769.
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Anti-money laundering regulation on the art market, is it a friend or a foe? This research contributes new insights to test possible answers to this question through the analysis of Ordinance no. 396/2016/IPHAN, enacted in Brazil to establish compliance measures to be followed by art and antiquities dealers to control money laundering practices. A pyramidal regulatory model suggests a conjunction of self-regulatory measures, administrative sanctions and criminal penalties as useful instruments to mitigate these illicit practices. This study focuses on the administrative initiatives requiring art professionals to undertake anti-money laundering due diligence measures and it critically analyses the extent to which they may rearrange the relations between dealers and clients. The contributions of the regulatory framework are recognised in so far as it shows itself able to meet societal aspiration for a respectable art market through a shrewdly responsive intervention rather than just formal bureaucratic constraints.
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Greenfield, Jeanette. "The return of cultural property." Antiquity 60, no. 228 (March 1986): 29–35. http://dx.doi.org/10.1017/s0003598x00057598.
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The seventeenth and eighteenth centuries bore witness to the zenith of the European art of 'collecting' antiquities. The second half of the nineteenth century saw the beginnings of systematic archaeological techniques of excavation, field survey, conservation and protection. It saw what Professor Seton Lloyd has called the 'birth of a conscience' regarding the expropriation of antiquities from other countries. In the twentieth century the idea has emerged that cultural property is a matter of international concern, as being part of the 'heritage of mankind'. This concern has centred around looting from and destruction of archaeological sites, cultural heritage, the illicit traffic of art in the international market, and the return of cultural property. ildditional controls have been sought to establish the protection of cultural property in time of war as well as peace.
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Kutasz Christensen, Theresa A. "Agents, Acquisitions, and Agency: Queen Christina of Sweden’s Development of Antiquarian Collections in Stockholm and Rome." Parergon 40, no. 2 (2023): 127–45. http://dx.doi.org/10.1353/pgn.2023.a914784.
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Abstract: Queen Christina of Sweden was a prolific collector both as ruler of Sweden and as abdicated queen in Rome. Working for decades to build nearly autonomous antiquities collections in Stockholm and Rome, Christina employed a robust network of art acquisition agents. Correspondence and travel notes between these agents, artists, their associates, and Christina provide insight into the queen’s reach, ambition, and limitations. This article takes an intersectional approach to women’s mobility in the early modern antiquities market, illuminating the impact of religion, location, gender, and status on the ancient marble trade across Europe and the transnational networks Christina utilised.
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Quiñones Vilá, Claudia S. "On the Borderline – Using National and International Legal Frameworks to Address the Traffic of Pre-Columbian Antiquities between Mexico and the United States." Santander Art and Culture Law Review 7, no. 2 (December 31, 2021): 51–76. http://dx.doi.org/10.4467/2450050xsnr.21.018.15263.
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This article examines legal provisions and remedies for illicitly trafficked pre-Columbian antiquities, focusing on Mexico and the United States of America (USA), to determine gaps and areas for improvement. These two countries provide an interesting contrast, as they are contiguous neighbours but have different legal systems and approaches to the protection of cultural property. Nonetheless, Mexico and the USA have a history of fruitful cooperation in the recovery and return of pre-Columbian cultural objects under both domestic and international frameworks, such as bilateral agreements and cultural heritage conventions. In particular, as a country that accounts for nearly half of all global art market transactions, the USA is uniquely placed to act as a gatekeeper for pre-Columbian antiquities and serve as an example for the effective protection of foreign cultural property seized within its borders. However, while the examination of Mexico and the USA provides a useful case study, the illicit traffic of these objects should not be viewed in isolation or characterized as solely a regional problem. Globalization and the international nature of the art market require a more expansive view of the subject, while still taking countries’ legal and cultural specificities into account. A balanced and holistic approach will help increase the effectiveness of both national and international remedies; this will improve the legitimate market as a whole and curb illicit trafficking. By tackling the problem at both ends of the supply chain and increasing visibility, the possibilities of success shall rise.
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Hufnagel, Saskia, and Colin King. "Anti-money laundering regulation and the art market." Legal Studies 40, no. 1 (November 4, 2019): 131–50. http://dx.doi.org/10.1017/lst.2019.28.
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AbstractFollowing concerns that the art market is being used to launder criminal money and fund terrorist activities, measures have recently been introduced to subject the market to the anti-money laundering (AML) regime – such as the EU 5th Money Laundering Directive (2018) and the US Illicit Art and Antiquities Trafficking Prevention Bill (2018). The expansion of the AML regime to include art dealers has been attributed to the failure of regulation and the vulnerabilities inherent in the market to laundering. This paper considers vulnerabilities to money laundering and examines the types of regulation that apply in the art market. The paper then goes on to analyse the application of AML criminal law and preventive measures in the UK context, demonstrating that art dealers can be criminally prosecuted for engaging in normal commercial activities. Even if dealers do comply with AML reporting rules, such compliance can significantly impact upon their business. These are important considerations given the government's emphasis on striking a balance between the burdens on business and deterring money laundering activities. Drawing upon the AGILE analytical framework, we remain sceptical about the continued expansion of the AML regime.
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Belzic, Morgan. "Les sculptures funéraires de Cyrénaïque sur le marché de l'art." Libyan Studies 48 (September 28, 2017): 105–16. http://dx.doi.org/10.1017/lis.2017.12.
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AbstractIn the course of my research on Cyrenaican funerary sculptures, such as the remarkable ‘Mourning Women’ and ‘Funerary Divinities’ and the distinctive local funerary portraits, I realised to my dismay that a large part of this archaeological material has been or is currently on sale on the international art market. The number of sales of these sculptures on the art market demonstrates the extent of looting over the past twenty years in the Greek necropoleis of Libya. These sales show in particular that the degree of tomb destruction has increased exponentially during the past ten years. This preliminary discussion has three main objectives: 1) to alert and to inform the world about this destruction in order to help end the looting; 2) to describe the operational modes of the illicit trade in antiquities on the art market; and 3) to study and document these sculptures, which are important evidence for understanding the culture and history of ancient Cyrenaica.
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Rowlands, Eliot W. "‘An indefatigable intermediary’." Journal of the History of Collections 32, no. 3 (March 11, 2020): 537–58. http://dx.doi.org/10.1093/jhc/fhz042.
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Abstract At a time when museum curatorship in America was in its infancy, Harold Woodbury Parsons (1882–1967) scouted and negotiated for outstanding works of art for the cash-rich Cleveland Museum of Art, which opened to the public in 1916. As its European representative (1925–41), he acquired such masterworks as the Stroganoff Ivory, El Greco’s Holy Family with St Mary Magdalen, and the Warren tondo by Filippino Lippi, all during the late 1920s. During a lifetime’s work in the art market, in which he worked for private collectors and other museums, this was his most important achievement. What he acquired for the Cleveland Museum is vividly recounted in the art agent’s correspondence, until now, almost entirely unpublished. After moving to Rome in 1910, Parsons first served as ‘an indefatigable intermediary’ in the world market for antiquities. Later, with the blessing of Edward Waldo Forbes and Paul J. Sachs – director and assistant director, respectively, of Harvard’s Fogg Art Museum – and with a host of European contacts, he was able to ‘gun for’ art for an ever expanding number of clients.
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Colton, Fionndwyfar. "The Destruction of Mali's Cultural Heritage." Potentia: Journal of International Affairs 6 (October 1, 2015): 3–15. http://dx.doi.org/10.18192/potentia.v6i0.4413.
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In Mali, and throughout West Africa, ongoing illicit trafficking movements and violent conflicts have necessitated a call for new protective measures and policies to protect cultural heritage. Traditional strategies of customs regulation and restriction on the antiquities market have been previously based on economic and legal issues enmeshed in trafficking networks and transnational crime processes. However, these do not reflect the realities of Malian daily life, nor do they go beyond the onedimensional stance framing the actions of looters and traffickers as a facet of these processes. What is ignored are the underlying motivations for looting and illicit antiquities trafficking and how these motivations are affected by, and enacted through, the ever shifting socio-political climate that has been Mali’s system of government since its independence from the French Sudan in 1960. This paper explores the realities of looting throughout Mali, ongoing debates concerning the representation of Malian antiquities in the transnational art trade, and the ways in which both national and international bodies have attempted to thwart ongoing heritage destruction.
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Maev, R. GR, A. Baradarani, and J. R. B. Taylor. "New concept for art and antiquities identification based on craquelure pattern analysis." Insight - Non-Destructive Testing and Condition Monitoring 62, no. 3 (March 1, 2020): 134–38. http://dx.doi.org/10.1784/insi.2020.62.3.134.
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In this paper, it is shown that the craquelure patterns of paintings and other antiquities can be considered as fingerprints so that the authenticity of any given artwork can then be verified against prior works. The authors propose to extract craquelure features from photographic images and use them in the implementation of a unique matching procedure to address the art forgery issue as well as to monitor the health conditions of the objects concerned. This feature extraction strategy is robust against illumination, scale, rotation and perspective distortion. The craquelure extraction system developed, called multi-scale multi-orientation morphological processing (MMMP), performs analyses in each sub-band. A comprehensive craquelure image dataset has been constructed from a variety of different types of painting and other art objects. The results show significant improvement and compare favourably with the current best results in the market.
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Piran McClary, Richard. "Calouste Gulbenkian, His Mīnāʾī Ware, and the Changing Islamic Art Market in the Early Twentieth Century." Muqarnas Online 37, no. 1 (October 6, 2020): 325–43. http://dx.doi.org/10.1163/22118993-00371p13.
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Abstract This article aims to provide a clearer understanding of the emerging market for Islamic art in the early decades of the twentieth century through a study of the changing purchasing habits of one European collector, Calouste Gulbenkian, and specifically his acquisition of mīnāʾī ware. Such an approach allows for a coherent, focused study that engages with the leading dealers, agents, and auction houses of the time. These were located primarily in Paris and, to lesser extent, New York and London, in the key period during which the Islamic art market became a major part of the broader art and antiquities business. The main focus is on the shift from buying newly excavated fragmentary material from Armenian dealers to purchasing seemingly complete, but heavily restored, bowls from established collections sold at the leading auction houses. Each of the pieces in Gulbenkian’s collection of mīnāʾī ware is examined in detail, and a new taxonomic classification is presented for this well known, but still poorly understood, class of Islamic ceramics.
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Oliveri, Vicki, Glenn Porter, Pamela James, Jenny Wise, and Chris Davies. "Art crime: discussion on the Dancing Shiva acquisition." Journal of Criminological Research, Policy and Practice 6, no. 4 (June 6, 2020): 307–19. http://dx.doi.org/10.1108/jcrpp-03-2020-0033.
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Purpose This paper aims to explore how stolen Indian antiquities were purchased by a major Australian collecting institution, despite cultural protection policies designed to prevent such inappropriate acquisitions. Using the acquisition of the Dancing Shiva as a case study, the purpose of this paper is to examine how collecting institutions such as the National Gallery of Australia experience difficulty when determining legal title through provenance research. The impact of incautious provenance research produces significant risk to the institution including damaging its social responsibility credentials and reputation when the acquisition is discovered to be stolen. Design/methodology/approach This research applies a qualitative case study method and analysis of sourced official policy documents, personal communication with actors involved with the case, media reports and published institutional statements. Findings This work identifies four contributing factors that resulted in the National Gallery of Australia’s acquisition of stolen Indian artefacts: a misguided level of trust of the art dealer based on his professional reputation; a problematic motivation to expand the gallery’s Asian art collection; a less transparent and judicious acquisition process; and a collaboration deficiency with cultural institutions in India. Crime preventative methods would appear to be a strategic priority to counter art crime of this nature. Research limitations/implications Additional research into how collecting institutions can be effectively supported to develop and implement crime preventative methods, especially less-resourced institutions, can potentially further enhance cultural heritage protection. Practical implications Fostering a higher degree of transparency and institutional collaboration can enhance cultural heritage protection, develop a greater level of institutional ethics and social responsibility and identify any potential criminal activity. Changing the culture of “owning” to “loaning” may provide a long-term solution for cultural heritage protection, rather than incentivising a black market with lucrative sums of money paid for artefacts. Social implications Art crime involving the illegal trade of antiquities is often misinterpreted as a victimless crime with no real harm to individuals. The loss of a temple deity statue produces significant spiritual anguish for the Indian community, as the statue is representative not only of their God but also of place. Collecting institutions have a social responsibility to prioritise robust provenance policy and acquisition practices above collection priorities. Originality/value Art crime is a relatively new area within criminology. This work examines issues involving major collecting institutions acquiring stolen cultural heritage artefacts and the impact art crime has on institutions and communities. This paper unpacks how motivations for growing more prestigious collections can override cultural sensibilities and ethical frameworks established to protect cultural heritage. It highlights the liabilities associated with purchasing antiquities without significant due diligence regarding provenance research and safeguarding cultural heritage. It also emphasises the importance for collecting institutions to establish robust acquisition policies to protect the reputation of the institutions and the communities they represent.
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Whittaker, John C., and Michael Stafford. "Replicas, Fakes, and Art: The Twentieth Century Stone Age and Its Effects on Archaeology." American Antiquity 64, no. 2 (April 1999): 203–14. http://dx.doi.org/10.2307/2694274.
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In addition to archaeologists who make stone tools for experimental purposes, there is a growing number of flintknappers who make lithic artifacts for fun and for profit. The scale of non-academic knapping is little known to archaeologists, and is connected to a flourishing market for antiquities, fakes, replicas, and modern lithic art. Modern stone tools are being produced in vast numbers, and are inevitably muddling the prehistoric record. Modern knappers exploit some material sources heavily, and their debitage creates new sites and contaminates old quarry areas. Modern knapping is, however, a potential source of archaeological insights, and a bridge between the professional community and the interested public. Modern knapping also is creating a “twentieth-century stone age,” and archaeologists working with lithic artifacts need to be aware of the problems and potentials.
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Konkova, Ludmila V., and Maria V. Speshinskaia-Zorich. "The role of Russо-Byzantine antiquities collectors in the formation of museum collections at the turn of the 19th–20th centuries." Issues of Museology 13, no. 1 (2022): 78–96. http://dx.doi.org/10.21638/spbu27.2022.106.
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In the context of Russо-Byzantine minor arts, hoards of the Kievan Rus’ era represent a unique group of material culture artifacts, which are being thoroughly examined by academic science — archaeology and art history. The history of museum affairs have accumulated a number of studies on individual private collections, where the hoards were presented to some extent. However, there is a demand for a comprehensive coverage of the entire complex of hoards as the result of a “collecting fever” in the Russian Empire at the turn of the 19th–20th centuries. The culture of this period, addressed to the styles of past eras, made objets d’art of Byzantium, Ancient Russia and neighboring cultures to be desirable items of collecting, which contributed to the activation of the antiquities market. When the antiquities used to be implemented into the private collectors’ milieu, certain tendencies of their existence in this milieu inevitably arose. This article makes an attempt to highlight beneficial and negative aspects of such tendencies, especially for humanitarian science and museum work. Among the personalities, such as A. S. and P. S.Uvarovs, D.Ya. Samokvasov, B.I. and V.N.Khanenko, V. V.Tarnovsky, A.A.Bobrinsky, A. V.Zvenigorodsky, M P.Botkin, P.Morgan — two groups are distinguished according to their motivations and approaches: professional archaeologists and connoisseurs of antiquities. Characteristics of structure and acquisitions of their collections in the context of archaeological excavations are given; their further history of existence and the role in the museumification of decorative and applied arts monuments are revealed. A number of problematic aspects of the collectors and antique dealers’ activity is named, such as the growth of the forgery market, the fragmentation of monuments, which used to the single complexes, as well as the issue of national values restitution.
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Gaimster, David. "Measures against the illicit trade in cultural objects: the emerging strategy in Britain." Antiquity 78, no. 301 (September 2004): 699–707. http://dx.doi.org/10.1017/s0003598x0011333x.
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Until recently the UK was notorious for its illicit market in unlawfully removed art and antiquities from around the globe. Today the UK marketplace is operating in a very different climate. The UK has recently become a state party to the 1970 UNESCO Convention and is now introducing a package of measures designed to strengthen its treaty obligations, central to which is the creation of a new criminal offence of dishonestly dealing in cultural objects unlawfully removed anywhere in the world. These also include the development of effective tools to aid enforcement and due-diligence. Recent events in Iraq have also forced the UK Government to announce its intention to ratify the 1954 Hague Convention.
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Chernega, Petro, and Oleksii Kozak. "Collection Activity and Establishment by the Family of Bohdan and Varvara Khanenko the museum of foreign art." Ethnic History of European Nations, no. 65 (2021): 49–64. http://dx.doi.org/10.17721/2518-1270.2021.65.06.
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The phenomenon of collecting in Ukraine in the late XIX – early XX centuries is revealed on the example of the family of Bohdan and Varvara Khanenko. It is shown that their collection of works of art and antiquities of Ukrainian and Western European and Eastern peoples contributed not only to acquaintance with world art, but also to the revival of the historical development of Ukrainian spiritual culture and the formation of museum work in Ukraine. The use of historical comparative method and interdisciplinary approach allowed to analyze the main stages and characteristics of the family of Bohdan and Varvara Khanenko collecting artifacts, their activities to create a museum of Western art and art and science and industry in Kiev, and helped to substantiate theoretical positions and conclusions. For the first time, the article comprehensively and meaningfully reveals the concept, tasks, and characteristic features of B. and V. Khanenko’s collection of works of fine art and antiquities of the peoples of Western Europe, the East, and Ukraine. The significant contribution to the formation and development of museum work, education and spiritual culture of Ukrainians in general is highlighted. An attempt was made to further analyze the socio-political and cultural value and significance of the charitable activities of the couple, which contributed to the formation of national museum studies and museum education. The abolition of serfdom in 1861 led to the development of a market economy, the emergence of an active socio-economic group of entrepreneurs with high economic and financial status, which included Bogdan and Varvara Khanenko. The family upbringing and traditions of their famous Khanenko and Tereshchenko families became an important precondition and reason for collecting and creating a museum of works of fine art, antiques of their people and the peoples of Europe and the East. Their activity, as a socio-economic phenomenon, had a clear artistic, scientific and educational orientation, pronounced humanistic content and character, which contributed to the revival of national memory of the Ukrainian people, increasing interest in their past, historical and cultural heritage and art of the world.
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Hauser-Schäublin, Brigitta. "The diversion of the village gods: A criminal turn in the biography of Balinese copperplate inscriptions." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 168, no. 1 (2012): 74–99. http://dx.doi.org/10.1163/22134379-90003570.
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Royal edicts inscribed on copper plates were addressed to the villagers of Julah on the north coast of Bali; they date back to the 10th century. Since then, these artefacts have undergone many transformations in function and meaning. They were kept as sacred heirlooms in the village temple of Julah until recently. However, these copper plates were stolen by a man from a neighbouring village in 2002 and transported to Java in order to sell them as antiquities to the international black market of art. The villagers started an unprecedented search for these heirlooms and finally managed, assisted by the police, to recover these artefacts. This article describes and analyses the social life and the criminal turn of these copperplates, including the story of the thief.
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Falsone, Gioacchino. "A Syro-Phoenician Bull-Bowl in Geneva and its Analogue in the British Museum." Anatolian Studies 35 (December 1985): 131–42. http://dx.doi.org/10.2307/3642879.
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The following discussion begins with a study of a bronze bowl belonging to Monsieur George Ortiz, whose collection of ancient bronzes in Vandoeuvres/Geneva includes a large number of outstanding pieces of Near Eastern art. The bowl was recently acquired in the antiquities market and is said to come from modern Turkey. It is one of the finest and best preserved examples of a particular class of oriental metalwork in repoussé, the so-called Syro-Phoenician “bull-bowls”, which were most probably produced in the Levant in the early first millennium B.C. The main decoration of this class consists of concentric friezes of bovine animals in procession or similar sequence arranged around a central floral motif. The present paper will also examine a second, as yet unpublished, bowl kept in the British Museum.
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Groß, Steffen W. "On the Regulation of the International Exchange of Cultural Property." ORDO 2019, no. 70 (March 16, 2019): 166–87. http://dx.doi.org/10.1515/ordo-2020-0009.
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AbstractWith its foundation in 1945, UNESCO declared as its main purpose the promotion of international cultural exchangeUNESCO Constitution 1945, Art. I, 2 (c). A number of legal instruments (Conventions, Recommendations and Declarations) should duly help to substantiate that general purpose and make it work in practice. In this process, the regulation of the international exchange of cultural property plays a key role. However, the proper regulation of cultural property exchange has been a highly controversial issue. This paper focus on UNESCO's guiding ideas and conceptions of cultural property, international exchange and regulation. The central question is: Are the regulations codified in UNESCO’s Conventions and Recommendations helpful in encouraging international cultural exchange or are we faced, due to the neglect of private agents and the roles they play in cultural exchange, with some sort of one-sided regulation running counter to that aim? The author argues that UNESCO's legal instruments are driven by and express a strong anti-private and anti-market bias, which produce problematic economic incentives in the art and antiquities world to the disadvantage of the international exchange of cultural property.
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Geismar, Haidy. "Cultural Property, Museums, and the Pacific: Reframing the Debates." International Journal of Cultural Property 15, no. 2 (May 2008): 109–22. http://dx.doi.org/10.1017/s0940739108080089.
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The following short articles were presented at a special session of the Pacific Arts Association, held at the College Arts Association annual meeting in New York in February 2007. Entitled “Cultural Properties—Reconnecting Pacific Arts,” the panel brought together curators and anthropologists working in the Pacific, and with Pacific collections elsewhere, with the intention of presenting a series of case studies evoking the discourse around cultural property that has emerged within this institutional, social, and material framework. The panel was conceived in direct response to the ways that cultural property, specifically in relation to museum collections, has been discussed recently in major metropolitan art museums such as the British Museum and the Metropolitan Museum of Art (the Met). This prevailing cultural property discourse tends to use antiquities—that most ancient, valuable, and malleable of material culture, defined categorically by the very distancing of time that in turn becomes a primary justification for their circulation on the market or the covetous evocation of national identity—as a baseline for discussion of broader issues around national patrimony and ownership.
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Cunliffei, Barry, Colin Renfrew, Chris Gosden, and Helen Geake. "The British Museum at 250." Antiquity 77, no. 298 (December 2003): 828–33. http://dx.doi.org/10.1017/s0003598x00061767.
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The British Museum marked the 250th anniversary of its foundation this year, with an exhibition, The Museum of the Mind: art and memory in world cultures. We asked four archaeologists to review the show: Barry Cunliffe, professor at Oxford University and a trustee of the Museum; Colin Renfrew, professor at Cambridge University and former trustee; Chris Godsen, curator at the Pitt-Rivers Museum, Oxford University and Helen Geake, formerly at Norwich Castle Museum and now working on the British government's portable Antiquities scheme for England and Wales. Here is what they say.
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Jagielska-Burduk, Alicja. "Challenges and Prospects for the Art Market Vis-à-vis the Evolving EU Regime for Counteracting Illicit Trade in Cultural Objects (Erika Bochereau talks to Alicja Jagielska-Burduk and Andrzej Jakubowski)." Santander Art and Culture Law Review 7, no. 2 (December 31, 2021): 21–30. http://dx.doi.org/10.4467/2450050xsnr.21.016.15261.
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Erika Bochereau is Secretary General of the International Federation of Art and Antique Dealer Associations (CINOA). Established in 1935, CINOA is the principal international confederation of Art & Antique art market professional associations. Affiliated dealers from 30 leading associations cover a wide array of specialties, from antiquities to contemporary art. CINOA’s associate members include leading associations of auction houses and the International League of Antiquarian Booksellers (ILAB), which alone represents an additional 22 book seller associations. CINOA, and all of its member organizations, have a strict application process to ensure acceptance of only peer-vetted art professionals that have established businesses, reputable galleries, and/or practices. CINOA-affiliated groups abide by a high standard of business practices and codes of ethics which include strict due diligence. During the past nearly 70 years, dealers have been changing their practices to abide by biodiversity, cultural property, and heritage legislation. The CINOA Code of Conduct is updated regularly to reflect these changes. The vast majority of CINOA’s members are businesses of four people or less who work hard to cultivate their clientele: http://www.cinoa.org. UNESCO uses the term partnership for very specific relationships. I don’t think we can keep this sentence. Alicja Jagielska-Burduk is Editor-in-chief of the “Santander Art and Culture Law Review” (SAACLR) and the holder of the UNESCO Chair in Cultural Property Law at the University of Opole. Andrzej Jakubowski serves as SAACLR Deputy Editor-in-chief and Leader of the project “Legal Forms of Cultural Heritage Governance in Europe – A Comparative Law Perspective”, No. UMO-2019/35/B/ HS5/02084, financed by the National Science Centre (Poland). The present interview was undertaken within the framework of this research project.
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Barker, Alex W. "Looting, the Antiquities Trade, and Competing Valuations of the Past." Annual Review of Anthropology 47, no. 1 (October 21, 2018): 455–74. http://dx.doi.org/10.1146/annurev-anthro-102116-041320.
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Looting and spoliation of archaeological sites represent a known crisis in many parts of the world, and it is widely acknowledged that despite what we know about the scale of site destruction, the reality is worse. Available evidence suggests that the scale and severity of looting are increasing. Legal and ethical remedies exist but have not proven adequate to reduce the impact of looting and antiquities trafficking. This reflects, in part, inadequate resources and uneven enforcement, and also the pressures of rising prices for antiquities, growing market demand, severe economic depression, and lawlessness, particularly in conflict zones. But it also reflects expanding ideological causes for site destruction by others, as well as competing epistemologies and deontological expectations within the discipline itself challenging the site preservation imperative in archaeology. More than ten years ago, a previous review of these topics found the response inadequate; a decade later, matters are worse.
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Fox, Claire F. "The Documentary Films of José Gómez Sicre and the Pan American Union Visual Arts Department." ARTMargins 7, no. 3 (November 2018): 34–56. http://dx.doi.org/10.1162/artm_a_00217.
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During the 1960s and 1970s, the Visual Arts Department of the Pan American Union, headquarters of the Organization of American States (OAS) in Washington, D.C., produced nearly fifty 16mm documentary short films on topics ranging from contemporary art to heritage sites and OAS member countries. This article focuses on a cluster of three titles about Peru directed by curator and critic José Gómez Sicre between approximately 1964 and 1968. Produced with funding from an international affiliate of Esso Standard Oil, the films were shot on location and demonstrate careful attention to the contexts of art production within an emerging cultural policy framework that cast art and heritage as engines of regional cultural development. The films further assert that the antiquities and modern art markets might be synchronized to become a generational taste formation, insofar as they identify classes of affordable artifacts that were finding their way to collectors relatively recently, and which had also inspired the work of postwar Peruvian artists. As an ensemble, the films reveal unexplored interactions between contemporary art movements, the development of heritage districts and site museums, and emergent cultural policies that continue to impact hemispheric American locations.
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Oksanen, Eljas, and Michael Lewis. "MEDIEVAL COMMERCIAL SITES: AS SEEN THROUGH PORTABLE ANTIQUITIES SCHEME DATA." Antiquaries Journal 100 (June 29, 2020): 109–40. http://dx.doi.org/10.1017/s0003581520000165.
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This paper explores some 220,000 medieval objects recorded in the Portable Antiquities Scheme (PAS) online database of archaeological small finds through Geographic Information System analysis of their relationship with contemporary market sites. First, an overview of the contents of the PAS database is presented in terms of its spatial and ‘object type’ distribution. Second, the relationship of the medieval finds data against documentary evidence of commercial activity is investigated at a national level. Finally, PAS data is contextualised in its historical landscape context through case studies. It is argued that the distribution of PAS finds on the national scale can be linked with patterns of commercial activity, and that while rural and urban finds scatters have distinguishing trends, the countryside population enjoyed access to a range of sophisticated metalwork culture; also, that certain assemblages can be analysed statistically to yield new data and perspectives on local historical development.
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Prescott, Gertrude M. "Going, Going, Gone: Regulating the Market in Illicit Antiquities. By S. M. Mackenzie (Leicester : Institute of Art and Law, 2005, 290pp. £20.00 pb)." British Journal of Criminology 46, no. 2 (March 1, 2006): 357–59. http://dx.doi.org/10.1093/bjc/azl016.
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Mannoni, Chiara. "Protecting antiquities in early modern Rome: the papal edicts as paradigms for the heritage safeguard in Europe." Open Research Europe 1 (May 13, 2021): 48. http://dx.doi.org/10.12688/openreseurope.13539.1.
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The edicts issued in Rome between the fifteenth and the eighteenth centuries are the earliest legislation conceived for the preservation and supervision of heritage in Europe. Not only did such regulations aim to protect monuments, antiquities, and – at a later stage – paintings from the risks of damage and deterioration, but also established a legal framework against their illegal exportation and excavation. In this study the gradual development of this vast corpus of legislation is considered within the variations of artistic scholarship, legal knowledge, artistic taste, and the art market in Europe between 1400s and 1700s. The mutual implications of juridical constructs and practices of supervision are evaluated together with interdisciplinary factors – such as the rise of collections and museums – to shed light on the development of the concepts of ‘heritage protection’ in early modern Rome. Specific analysis will also involve the gradual expansion of the definition of ‘antiquity’ and ‘artefact’ in papal legislation, as well as the establishment of innovative instruments to prevent and circumvent misdemeanours. One final consideration is given to the launch of local procedures of heritage protection in other states in Europe. Considering the cultural and historical backgrounds of each individual place, this study will demonstrate that the idea of safeguarding what was thought of as ‘collective heritage’ emerged consistently in eighteenth-century Europe following the paradigms of the papal edicts.
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Johns, C. M., and T. W. Potter. "The Canterbury Late Roman Treasure." Antiquaries Journal 65, no. 2 (September 1985): 312–52. http://dx.doi.org/10.1017/s0003581500027165.
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In 1962, an important hoard of Christian late Roman silver was found at Canterbury and declared Treasure Trove. The assemblage, which dates to the end of the fourth century A.D. or the first decade of the fifth, and includes ingots and inscribed spoons, was published in 1965. In 1982, a spoon appeared on the London antiquities market which on investigation proved to be one of five objects (with two stamped ingots and two siliquae) that had formed part of the 1962 discovery, but had not been declared; they were pronounced Treasure Trove in 1983. This paper is an illustrated catalogue and discussion of all the items now known to constitute the Canterbury treasure. Two further sets of late Roman silver spoons are also catalogued, an unprovenanced group in private hands which displays marked links with the Canterbury treasure, and the Dorchester-on-Thames hoard, found in the late nineteenth century and typologically and chronologically closely related to Canterbury. X-ray fluorescence analyses of all the items have been carried out in the British Museum Research Laboratory, and the results are discussed.
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Adams, Kathleen M. "The Politics of Indigeneity and Heritage." Museum Worlds 8, no. 1 (July 1, 2020): 68–87. http://dx.doi.org/10.3167/armw.2020.080106.
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This article contributes to comparative museology by examining curation practices and politics in several “museum-like” heritage spaces and locally run museums. I argue that, in this era of heritage consciousness, these spaces serve as creative stages for advancing potentially empowering narratives of indigeneity and ethnic authority. Understanding practices in ancestral spaces as “heritage management” both enriches our conception of museums and fosters nuanced understandings of clashes unfolding in these spaces as they become entwined with tourism, heritage commodification, illicit antiquities markets, and UNESCO. Drawing on ethnographic research in Indonesia, I update my earlier work on Toraja (Sulawesi) museum-mindedness and family-run museums, and analyze the cultural politics underlying the founding of a new regional Toraja museum. I also examine the complex cultural, religious, and political challenges entailed in efforts to repatriate stolen effigies (tau-tau) and grave materials, suggesting that these materials be envisioned as “homeless heritage” rather than “orphan art.”
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Rasmussen, Josephine Munch, and Årstein Justnes. "Tales of saviours and iconoclasts. On the provenance of "the Dead Sea Scrolls of Buddhism"." Acta ad archaeologiam et artium historiam pertinentia 32, no. 18 N.S. (September 13, 2021): 125–46. http://dx.doi.org/10.5617/acta.9023.
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Academic research on newly discovered ancient Buddhist manuscripts is largely based on objects that come from the antiquities market and to a much lesser degree on objects coming from documented and controlled archaeological excavations. Despite their being unprovenanced, collectors and scholars often present such objects with narratives mimicking provenance. The use of the label "Dead Sea Scrolls" attached to archaeological material without connections to Judaism or early Christianity is a prevalent example of this scholarly praxis. In this article, we deconstruct provenance narratives associated with the undocumented Buddhist manuscripts in the Schøyen Collection and discuss their implications for research on these manuscripts and beyond. On cover:ANNIBALE CARRACCI (BOLOGNA 1560 - ROME 1609), An Allegory of Truth and Time c. 1584-1585.Oil on canvas | 130,0 x 169,6 cm. (support, canvas/panel/str external) | RCIN 404770Royal Collection Trust / © Her Majesty Queen Elizabeth II 2021.
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Ali Soomro, Tania, and Mohsin A. Soomro. "USING VALUE ASSESSMENT AS A TOOL FOR SAFEGUARDING BUILT HERITAGE “THE CASE STUDY OF EMPRESS MARKET IN KARACHI”." Journal of Research in Architecture and Planning 23, no. 2 (December 25, 2017): 41–64. http://dx.doi.org/10.53700/jrap2322017_5.
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Understanding and documenting the value of a heritage property is of utmost importance. The value of built heritage is basically referred to as an intangible aspect that characterizes its importance, worth, usefulness or the benefits in various dimensions. Heritage is valued not as an intellectual enterprise but it also plays instrumental, symbolic, and other functions in society (Tidwell, 2002). This research paper focuses on analyzing the historical and architectural value of Empress Market building in Karachi which in 1995 was declared protected heritage of Pakistan having an enlistment number 1995-047 under the Antiquities Act, 1975 and the Sindh Cultural Heritage (Preservation) Act 1994 by the Government of Pakistan. To understand the worth of the building and authenticity of that worth, a value based analysis is carried out with the help of applying Nara Grid to its various aspects. Nara grid is an evaluation scheme that helps measure authenticity of a building. A historical timeline of the building phases has been developed to understand the complexity of the structure. Also to gain a better understanding of the building, the architectural value assessment is carried out on the basis of research, architectural works, construction techniques and the structural systems. It also includes an inventory of the significant architectural attributes. Keywords: Value Assessment, Built Heritage, Empress Market, Karachi
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Woźny, Marzena, and Karol Dzięgielewski. "150 years of the Jagiellonian University Archaeological Cabinet. Past and present." Recherches Archéologique Nouvelle Serie 9 (December 31, 2018): 185–208. http://dx.doi.org/10.33547/rechacrac.ns9.07.
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The collection of the former Jagiellonian University Archaeological Cabinet (Gabinet Archeologiczny Uniwersytetu Jagiellońskiego) in Kraków is unique in Poland. This is the oldest archaeological academic collection in Poland and the only one to survive to the present day in a nearly unchanged form. The collection’s history goes back to 1867, when it was established by Józef Łepkowski, the creator of the first Chair of Archaeology in the Jagiellonian University. The basic bulk of the collection was accumulated after the January Uprising of 1863, in a period marked by increased interest in antiquities: at that time it was regarded as a patriotic duty to preserve the achievements of Polish science and art. The establishment of the cabinet fit well into the general interest in antiquity observed throughout 19th-century Europe. Today, the collection is divided into two parts (each of them kept separately): Mediterranean and Prehistoric. As the artefacts from the Archaeological Cabinet have not been put on display since the end of WWII, the collection has generally maintained its 19th-century character, becoming in itself a museum monument of a kind.
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Ruiz Romero, Zara. "De Cuzco a Berlín en el siglo XIX: el gabinete de curiosidades de María Ana Centeno." Revista de Humanidades, no. 42 (May 4, 2021): 179. http://dx.doi.org/10.5944/rdh.42.2021.27392.
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Resumen: María Ana Centeno desarrolló su gabinete de curiosidades y antigüedades precolombinas en el Perú del siglo XIX, en un momento en que la creación de acervos de este tipo resultaba común entre la élite cuzqueña, cada vez más consciente de la importancia de las culturas precolombinas. Gran parte de la colección fue vendida por sus herederos al Museo Etnológico de Berlín, en una transacción determinada por el valor en alza de las piezas precolombinas en el mercado, y por el creciente interés de viajeros, científicos y exploradores por lugares como Perú, con manifestaciones culturales dignas de estudiar y coleccionar. En la presente investigación tratamos la formación de la colección Centeno y su posterior viaje, desde Cuzco a Berlín, relacionando su casuística con el contexto y las circunstancias de la época. Asimismo, tomamos como ejemplo la referida colección para reflexionar sobre la pertenencia del patrimonio, y el lugar en que las piezas precolombinas peruanas deberían resguardarse.Abstract: María Ana Centeno created her cabinet of curiosities and pre-Columbian antiquities during the nineteenth century. In Peru, at that time, the creation of that kind of collection was common between the elite, who were conscious of the increasing value of the pre-Hispanic cultures and antiquities. Most of the pieces of the collection were sold by María Ana’s sons to the Ethnological Museum of Berlin. It was a transaction determined by the rising value of pre-Columbian pieces on the market, and also by the growing interest of travelers, scientists, and explorers in places like Peru. In that paper, it is addressed the formation of Centeno’s collection, and its move from Cuzco to Berlin; all that having into account the contexts and circumstances of the time. Besides, it is made a reflection on the cultural heritage’s owners, and the place where the Peruvian pre-Columbian pieces should be.
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Lovett, Leah. "Art and Antiquities." Photography and Culture 5, no. 1 (March 2012): 99–103. http://dx.doi.org/10.2752/175145212x13233396185314.
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Herscher, Ellen. "The Antiquities Market." Journal of Field Archaeology 12, no. 1 (1985): 107. http://dx.doi.org/10.2307/529378.
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Kaiser, Timothy. "The Antiquities Market." Journal of Field Archaeology 17, no. 2 (1990): 205. http://dx.doi.org/10.2307/529822.
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Herscher, Ellen. "The Antiquities Market." Journal of Field Archaeology 12, no. 4 (1985): 469. http://dx.doi.org/10.2307/529971.
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Kaiser, Timothy. "The Antiquities Market." Journal of Field Archaeology 20, no. 3 (1993): 347. http://dx.doi.org/10.2307/530058.
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Herscher, Ellen. "The Antiquities Market." Journal of Field Archaeology 13, no. 3 (1986): 329. http://dx.doi.org/10.2307/530120.
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