Returning Archaeological Objects to Italy David W

Returning Archaeological Objects to Italy David W. J. Gill*

Abstract: It has been more than 20 years since the raids on the premises at the Geneva Freeport were linked to Giacomo Medici. The seizure of photographic records led to a major investigation of acquisitions by museums and private collectors. This was expanded following the confiscation of archives from Robin Symes and Gianfranco Becchina. Over 350 items have been returned to Italy from North American public and private collections as well as auction houses and galleries. This article reviews the returns and identifies some of the major themes. It also notes some of the unresolved cases both in North America and in Europe and Japan.

Keywords: Repatriation, photographic archives, forensic archaeology, art market, auction houses, antiquities market

The last two decades have seen a major shift in attitudes toward “looted” antiquities. Up to this point, concerns had been raised, but there was rarely substantial and compelling proof that would persuade a museum to hand over its valuable and valued acquisitions. In 1997, Peter Watson exposed the scandal surrounding the selling of recently surfaced antiquities through Sotheby’s in London based on the release of documentary evidence held by an employee of the auction house. This led to a decision by the auction house to stop selling “ancient art” through its London premises.1 In 1995, raids on the Geneva Freeport premises linked to Giacomo Medici brought about the confiscation of large numbers of antiquities as well as a photographic archive of material handled by this

*Suffolk Business School, University of Suffolk, Ipswich, United Kingdom; Email: [email protected] ACKNOWLEDGMENTS: I am grateful to Christos Tsirogiannis who has generously discussed the returning objects on a case-by-case basis; Christopher Chippindale has been a co-researcher for many years and has strengthened my approach; Christopher M. Hall who suggested using social media to record cultural property; and Nathan Elkins, Elizabeth Marlowe, and Vernon Silver who have offered helpful comments during the course of this project. 1Watson 1997; see also Gill 1997. This decision has now been reversed, and Sotheby’s in London is once again auctioning antiquities.

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individual and his associates.2 This seizure led directly to the return of material from North American collections.3 This study primarily provides an overview of the objects that have been returned to Italy from North American public museums, private collectors, and dealers. Second, it highlights some of the material that continues to be a matter of concern and that has been mentioned in earlier discussions. Third, it discusses some of the information that has started to emerge from the returns about the routes by which objects moved from Italy to North America. Fourth, it considers some of the broader categories of material.

PUBLIC COLLECTIONS

North American museums have long been seen as acquirers of material derived from archaeological sites in Italy. In 1972, New York’s Metropolitan Museum of Art (MMA), under the directorship of Thomas Hoving, acquired the Attic red-figured calyx-krater that showed the death of Sarpedon before Troy (the “Euphronios krater”).4 This was hailed as a major acquisition but soon attracted considerable attention. Philippe de Montebello, the director of the MMA had been a major critic of attempts by Italy and other countries to regain cultural property.5 In 1993, the museum agreed to return the so-called Lydian hoard of silver plate to Turkey that had been acquired over a number of years in the late 1960s.6 In February 2006, the museum announced that it would be returning the Sarpedon krater as well as the 15 pieces of silver plate associated with the archaeological site of Morgantina in Sicily, an Attic amphora, and an Apulian dinos. In 2017 a Paestan krater attributed to Python was handed back after it had been identified from images in the Medici dossier.7 In September 2006, Boston’s Museum of Fine Arts announced that it had come to an agreement with Italy.8 A year earlier, it had rejected the concerns of Italy, but it quickly announced that it would be returning 13 items ranging from a major portrait of Sabina, the consort of Hadrian, to Attic and southern Italian pottery. Full histories were provided for each of the returned objects and placed on the museum’s website. The J. Paul Getty Museum has made several returns to Italy. In 1999, it handed back the Euphronios/Onesimos cup and, in 2005, the Asteas krater, made in Paestum, as well as an Etruscan candelabrum and a Greek inscription.9 In 2001, the museum returned approximately 3,500 fragments of Corinthian and Italo-Corinthian pottery

2Watson and Todeschini 2006. 3For an earlier overview, see Gill 2009c, 2010b. 4Gill 2012c; see also Von Bothmer 1987. 5De Montebello 2007, 2009. 6Özgen and Öztürk 1996. 7Tsirogiannis 2014. 8Gill and Chippindale 2006. 9Sgubini 1999; Watson and Todeschini 2006, 297; Felch and Frammolino 2011, 153–54, 267.

that appear to have been derived from a site at Francavilla Marittima. More recently, the museum made a major announcement timed to coincide with Thanksgiving Day 2006.10 A second statement covering additional material was issued in August 2007. The overall returns include the Morgantina statue of “Aphrodite,” painted marble sculptures from southern Italy, wall painting fragments from Campania, as well as Attic and southern Italian pottery.11 Although the press release only listed the objects that were due to be returned, the museum staff helpfully supplied further details that made it possible to reconstruct part of the histories. One of the other wall-painting fragments, formerly part of the Lawrence and Barbara Fleischman collection, was returned in 2009. Marble fragments acquired from Robin Symes in 1988 was returned in the spring of 2012. A further piece—a terracotta head of Hades—was handed over in 2013. The head’s full collecting history appeared to have come to light as the museum prepared for a major loan exhibition on “Sicily.”12 In 2017, a seated marble Zeus, formerly part of the Fleischman collection, was handed over to the Italian authorities after a fragment was identified from near Naples. Many of the returned objects were acquired by Marion True, a curator who was simultaneously trying to make the Getty’s acquisition process more rigorous.13 In 2007, two acrolithic sculptures on loan to the University of Virginia Art Museum in Charlottesville (Virginia) were returned to Sicily. They were clearly related to the “Aphrodite” returned from the Getty. These acrolithic statues appear to have been looted from Morgantina around 1979 and were then handled by Robin Symes who sold them, in 1980, to Maurice Tempelsman for some US $1 million. The Princeton University Art Museum came to an agreement with Italy in October 2007. Some material would be returned to Italy, but seven items retained in Princeton were legally transferred to Italy. The returned items included an Attic red-figured psykter that was featured in the Memoirs of Robert Hecht. Subsequent to this announcement, in December 2011, Princeton agreed to return a further batch of material to Italy, including large numbers of Etruscan terracotta architectural fragments that had been acquired over several years.14 Some of the second group of objects were linked to the dealer Edoardo Almagià. They included the 157 Etruscan architectural fragments that had been presented to the museum in 1996. Part of the same series, a fragment given to the museum by the Aboutaam brothers of Switzerland, had been returned in the first batch of returns. The Ny Carlsberg in Copenhagen has returned some 500 antiquities to Italy, including a large number of fragmentary Etruscan architectural terracottas.15

10Gill and Chippindale 2007. 11Felch and Frammolino 2011. 12Lyons et al. 2013, 192, fig. 133. 13Gill 2015. 14Gill 2012b. 15Gill 2016a. For earlier discussion, see Christiansen 2008. Many of the terracottas are featured in Christiansen, Winter, and Lulof 2010.

The Cleveland Museum of Art agreed to return 14 objects in November 2008. The items included Apulian pottery and silver Etruscan jewelry. Few details were provided about the histories.16 However, it was possible to provide additional information, such as for the two Etruscan bracelets given to the museum by Almagià and Courtney Keep in honor of the former curator Arielle Kozloff. The majority of the Cleveland material included southern Italian pottery, several pieces of which were the gift of Jonathan P. Rosen. A further returned piece was a marble portrait head of Drusus Minor that was acquired in 2012.17 This had been acquired with the suggestion that it had come from an old Algerian collection, but research by Italian academics demonstrated that it had been excavated at Sessa Aurunca in Italy and placed in an archaeological store. The Minneapolis Institute of Art was a reluctant participant in the negotiations. There was a single disputed Attic red-figured krater that was identified from both the Medici dossier and the Schinousa archive.18 The public account was that it had formed part of private collections in England and Switzerland. The iden- tification had been made public in November 2005, but the institute had not opened negotiations with the Italian authorities. However, after the director, Kaywin Feldman, issued a carelessly worded public statement in defense of the acquisition of an Egyptian mummy mask by the St Louis Art Museum, pressure was applied to the institute to return the krater.19 This took place in 2012. One of the earliest reports of potentially looted material in North American museums had included the mention of an Etruscan hydria attributed to the Michali painter in the Toledo Museum of Art. The museum agreed to return this in 2012, and it was handed over to Italian authorities in January 2013. The hydria had been acquired from Becchina in 1982. One less well-publicized transfer of ownership related to a Villanovan impasto hut acquired by the Fordham Univer- sity Art Museum.20 This collection had been formed by William D. and Jane Walsh from the mid 1970s and had been given by them to Fordham in 2006. Few of the pieces had histories that could be traced back to the period before 1970. The collection also includes Roman imperial bronzes that appear to belong to the Sebasteion at Bubon in Turkey. The highly publicized scandal relating to the Almagià material returned by Princeton to Italy prompted the director of the Dallas Museum of Art, Maxwell Anderson, to identify material that came from the same source in his collection.21 This formed part of a voluntary return to Italy; in addition, a Roman mosaic was

16I use the term “histories” to refer to the way that an object moves from collection to collection after it has been removed from the ground. I choose not to use the term “provenance,” which I consider to be misleading in terms of archaeological material. 17Gill 2017. 18Padgett 1983–86; Gill 2011. 19For the mask, see Gill 2014a. 20Cavaliere and Udell 2012. 21Gill 2013a.

handed over to Turkey. Anderson has had a well-established and nuanced approach to the issue of recently surfaced antiquities. At Emory University, he had established the Emory University Museum International Loan Project scheme that had encouraged the loans of major archaeological material from Italy such as one exhibition on Roman funerary portraits, another on archaeological material from Syracuse, and a third on Roman colored marbles.22 The unprompted investigation by Dallas appears to have allowed the objects to remain in the museum as loans from the Republic of Italy.

PUBLIC COLLECTIONS: UNRESOLVED CASES

Although significant returns have been made from public museums, additional archaeological material in other collections has been identified from the Polaroid images. While some of these acquisition habits can be traced back to the period before the 1970 Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property (1970 UNESCO Convention), some of the more recently surfaced and disputed pieces are in North American collections.23 For example, the marble statue of a boy acquired by Virginia in 1989 from Galerie Nefer appears to have featured in a transaction between Mario Bruno and Becchina in 1987.24 The same museum also has a Gnathian askos that it acquired in 1980 from Fritz Bürki.25 Toledo has an Attic red-figured skyphos attributed to the Kleophon painter that has been identified in the Medici dossier.26 There continue to be unresolved disputes with museums outside North America. The Miho Museum in Japan has often been cited in media reports and reportedly contains some 50 disputed objects.27 One of the objects that has been cited is a Roman marble oscillum.28 European museums have been notably absent from the instances of significant returns. The Italians took legal action against Leiden’s Rijksmuseum van Oudheden for the return of a cuirass from Greek cav- alry armor, acquired in 1998, but the Dutch courts rejected the claim in 2004. Some 15 objects acquired by the Allard Pierson Museum in Amsterdam had been handled by dealers and auction houses such as Elie Borowski, Palladion Antike Kunst, Robin Symes, and Sotheby’s in London. The Museo Archaeológico Nacional in

22Anderson and Nista 1988, 1989; Wescoat and Anderson 1989. For a discussion of the significance of Emory University Museum International Loan Project, see Butcher and Gill 1990; see also Anderson 2017. 23Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property, 14 November 1970, 823 UNTS 231. 24Tsirogiannis 2013a. 25Tsirogiannis 2013b. 26Tsirogiannis 2017. 27Miho Museum 1997. 28Gill 2009d, 87.

Madrid acquired the collection of Greek pottery formed by Várez Pisa.29 Some 22 pieces from this collection are reported to be featured in the seized dossiers of photographs from Medici, Becchina, and Symes. All of these examples suggest that the issue of acquiring recently surfaced archaeological material derived from Italy has not been confined to museums in North America but that it has been a global phenomenon.

PRIVATE COLLECTORS

In 2000, classical material in private collections that had been placed in a series of public exhibitions in North America and Europe formed the basis of a major study.30 One of the striking things to emerge from this piece of research was that a high percentage of the objects had no stated histories that could be traced back to the period before 1973 (the date of the adoption by the Archaeological Institute of America of their statement relating to illicit antiquities) and the 1970 UNESCO Convention. Two of the collections had been formed by Shelby White and Leon Levy and displayed at New York’s MMA as “Glories of the Past” and by Barbara and Laurence Fleischman in an exhibition displayed in the Getty and at Cleveland as “A Passion for Antiquities.”31 The collection of George Ortiz had been displayed in the Royal Academy of the Arts in London as “In Pursuit of the Absolute.”32 These collections were formed, no doubt, by a genuine interest in the past. The exhibition titles indicate the way that these objects were viewed: “In Pursuit of the Absolute” suggests the hunter, the chase, and the capture; “A Passion for Antiq- uities” again evokes the idea of the search; and “Glories of the Past” suggests that these objects were the pinnacles of ancient art that have been received into this newly formed collection. The thinking behind this last title evokes the exhibition of the Hunt brothers, “Wealth of the Ancient World,” suggesting that the objects within the show were somehow valued and valuable in antiquity.33 Such a position is clearly in tension with the ancient values.34 One of the issues that has been overlooked by these collectors is that the real “treasures” and valuable objects have rarely survived from antiquity. Chryselephantine statues on the scale of Pheidias’ mid-fifth century bc Olympian Zeus or Athena Parthenos have not survived the destruction of pagan temples in Late Antiquity. An exception would be the Roman ivory mask that was returned

29Cabrera Bonet 2003; see also Fabio Isman, “Looted from Italy and Now in a Major Spanish Museum? Madrid’s National Archaeological Museum May Have Bought Trafficked Items,” The Art Newspaper, 13 July 2010. 30Chippindale and Gill 2000. The methodology of the study has been revisited. See Marlowe 2016, with a response from Gill 2016b. 31Von Bothmer 1990; True and Hamma 1994. 32Ortiz 1994. 33Tompkins 1983. 34Vickers and Gill 1994.

to Italy after being seized in London.35 Gold plate that features so prominently in temple inventories and classical texts rarely survives, though exceptions may include the Panagyurishte treasure from Thrace or the gold phiale returned to Italy from the collection of Michael Steinhardt.36 The same is also true for silver plate, though some stunning examples have survived such as the gold-figured silver plate from the burials at Duvanli, the royal burials at Vergina, or the Berthouville treasure from northern France. Such material is largely absent from these private collections of “Wealth” and “Glories.” Instead, there is an emphasis on objects such as figure-decorated pottery made in Athens and southern Italy. It is clear from ancient commercial trademarks scratched on the base of Athenian pottery that this category of ancient “art” was relatively cheap.37 For example, an Attic red-figured pelike may be priced in obols, whereas a silver phiale could be worth 1 mina (the equivalent of 100 drachmas or 600 obols) in bullion value alone. Yet Athenian and southern Italian pottery has been privileged by the attribution of the pots to largely anonymous artists creating workshops, groups, and spheres of influence. The implications of this research into ancient values and the tension with the commercial value placed on modern collections of antiquities have been realized by those involved in the market.38 Research on these private collections has suggested that many of the objects did not have established and extensive histories. Simon Mackenzie, a criminologist, has been critical of this approach, suggesting that it would be inappropriate to suspect objects of being “looted” just on the grounds of an absence of a full collecting history.39 However, the emergence of the Medici dossier has identified objects from two of these private collections: Barbara and Lawrence Fleischman and Leon Levy and Shelby White. A substantial number of the returns from the Getty included objects that had either been purchased or been received as a gift from the Fleischmans. Two of the items were fragments of a Roman wall painting that seemed to come from the same composition as a fragment in the Shelby White and Leon Levy collection. One wonders how these fragments were separated as they passed through the market and ended up in separate collections. The Fleischman returns included Attic and southern Italian pottery. Additionally, the couple had also donated a Campanian bird askos to the Cleveland that has separately been returned to Italy.40 The Fleischman material was returned to Italy once it had been acquired by the Getty. However, Shelby White still retained the objects that had been formed with her husband. In January 2008, she finally came to an agreement with the Italian authorities to return 10 items, although the Kyknos krater attributed to Euphronios

35Godart and De Caro 2007, 214–15, no. 60. 36Lyons et al. 2013, 44–46, fig. 24. 37Vickers and Gill 1994. 38Gill 2007. 39Mackenzie 2005, 13–14. 40Gill 2010b, 105, no. 9.

was not returned until 2010.41 Two further objects were handed over to Greece in July 2008, and a disputed statue of the weary Herakles, which had also once formed part of their collection, was returned to Turkey from Boston.42 Several, though not all, of the items had appeared in “Glories of the Past” exhibit.43 These two prominent New York couples, with strong links to major North American public museums, feature prominently in the returns, but they are not the only North American collectors who owned material that has been returned to Italy. The Hunt Brothers had endeavored to corner the world silver market, but when their efforts were curtailed, they were encouraged to turn their attention to antiquities under the guiding curatorial hand of some individuals who perhaps hoped the collection would one day be passed to their museums.44 Due to financial difficulties, the collection was dispersed and passed into other private collections. The Kyknos krater attributed to Euphronios passed into the Leon Levy and Shelby White collection, and the Etruscan antefix representing a satyr and a maenad entered the Fleischman collection, appearing on the cover of the catalogue of their collection; it subsequently formed part of the Getty’s collection. The Athenian red- figured cup attributed to Euphronios had a complex history passing through the hands of Giacomo Medici and returning to Italy.45 The Getty material also included a group of objects that had been derived from the jeweler Maurice Tempelsman.46 The stunning painted marble griffins killing a doe had formed part of his collection; a picture from the Medici dossier shows Medici posing in front of the group in the Getty. Other items from Tempelsman include a marble Apollo. He also owned the two acrolithic statues that were returned from Virginia to Sicily. Another group of antiquities formed part of the Kluge collection, owned by financier John Kluge and Patricia Kluge.47 Returned material include bronze figures of an athlete and a Nike, both stolen from museums in Italy, an Attic black- figured krater attributed to the Bucci painter, an Attic lekythos attributed to the group of Palermo 16, and a Paestan lekythos acquired from a Swiss private collection. In addition, nine former pieces from the Kluge collection are reported to be in Madrid and form part of the Italian investigation. Dietrich von Bothmer had curated the Greek and Roman collection at the MMA for several decades until he was succeeded by Carlos Picon in 1990. He was well known as a collector of pottery fragments, and some of these had been featured in the returns from the Getty, notably the red-figured krater attributed to the Berlin painter and the Onesimos cup. It is reported that Bothmer donated over 100 such

41Musée du Louvre 1990, 96–101, no. 6. 42Chi and Gaunt 2005. 43Von Bothmer 1990. 44Tompkins 1983. 45Silver 2009. 46Gill and Chippindale 2007. 47Gill 2018.

fragments to the Getty, although their histories remain unclear. In January 2012, a carefully worded notice that omitted to name the owner announced that 40 fragments had been returned to Italy.48 It appeared that some of them fitted pots that had already been returned to Italy such as the Onesimos cup returned from the Getty. The Italian press subsequently revealed that they had belonged to Bothmer. The MMA eventually published a token number of images on the Association of Art Museum Directors’s (AAMD) Object Registry, and one image showed the fragments for an Attic red-figured cup that was in the Villa Giulia in Rome.49 These specific fragments have now been returned. Another collector of pottery fragments was Robert Guy, one-time curator at Princeton. He donated fragments for the Attic amphora attributed to the Berlin painter that was acquired by the MMA and returned to Italy alongside the Sarpedon krater. Yet the photographs from the Medici dossier indicate that the amphora passed through Medici. It remains unclear how fragments of it came into Guy’s possession. Guy himself was the source of the large group of pottery fragments that were purchased by Harvard University Art Museum.50 This collection of potsherds was defended by James Cuno, a former director at Harvard, who con- sidered them to be insignificant.51 Yet it is now clear from both raids in Rome and a study of the returned finds that near complete pots could be broken up as they passed through the market, and the pot restored by the final destination museum. Among the private collectors represented in the returns was Jonathan Rosen. Five of the Cleveland objects had been donated by him. He had also contributed to the purchase of the Attic red-figured psykter that had been acquired by Princeton. He was also closely associated with the loan exhibition of Italian material in private collections that was displayed in Switzerland.52 Rosen himself has been associated with the 10,000 cuneiform tablets returned from Cornell University in 2013.53 Some of the private collectors are little known. For example, among the returns was a Roman marble head from the collection of Mr and Mrs Charles W. Newhall III. This had been purchased through the Montreal market. The head was identified from the Becchina photographic archive. Other private individuals listed as former owners from among the Getty material may have formed part of the complex acquisition plans of dealers outlined by Bruce McNall, owner of Summa Galleries. In his autobiography, he explains how he worked with Jiri Frel to acquire objects that the Getty’s board would otherwise be unwilling to acquire.54 It seems that potential objects for purchase were identified, and private individuals would then be invited to acquire and donate them with tax benefits.

48Gill 2012a. 49Tsirogiannis and Gill 2014. 50Paul 1997. 51Cuno 2008, 22–23. 52Jucker 1991. 53Noted in Gill 2014c, 57. 54McNall 2003.

CORPORATE OWNERS

Some individuals may have acquired objects as an investment that could be realized in their future sale. This is reflected in the formation of the Athena Funds where objects were laid down and then sold at a major sale. Thus, for example, the Roman silver “Swiss army penknife” (now in the Fitzwilliam Museum, University of Cambridge) was sold through this fund even though its only previous history was its viewing in a Soho safe.55 Classical sculptures are seen as appropriate backdrops for private houses and living spaces, but they have also been used by corporations. In 2011, two Roman statues—one representing Fortuna—were returned from Humana, a healthcare company.56 One had been acquired from the Merrin Gallery in New York in 1984. The Fortuna had been stolen in Rome in October 1986.

DEALERS AND GALLERIES

The last 20 years have been dominated by a series of high-profile seizures from dealers in Switzerland. The journalistic investigation into the operation of the antiquities department at Sotheby’s in London has established the supply of classical objects from Italy via middlemen in Switzerland.57 Sotheby’s subsequently took the decision to cease selling antiquities in London and transferred the activity to New York. It has also encouraged a more rigorous due diligence search for antiquities appearing in their sales that has led to a significant decrease in toxic lots. When archaeological items stolen from the home of Marchesa Alessandra de Marchi in the Torre Paola at San Felice Circeo in April 1986 surfaced at Sotheby’s in London in May 1987, Italian investigators pursued the leads.58 It was revealed that Editions Services S.A had consigned the items. The prosecutor in Latina sent a for- mal request for further information to their colleagues in Switzerland in April 1995, and this allowed Giacomo Medici to be identified as the owner of the company. The investigation led the Italian authorities to Medici’s warehouse facilities in the Geneva Freeport. The raid in September 1995 revealed a significant number of objects (approximately 3,800) as well as a major dossier of Polaroid photographs docu- menting the pieces that had been handled by the dealer. It is this dossier that helped to make positive identifications with objects in various international collections.59 Yet Medici was not the only dealer operating out of Switzerland. Raids in Basel recovered a significant number of objects from the premises associated with

55Vassilika 1998, 128–29, no. 62. 56Noted in Gill 2012b, 64. 57Watson 1997. 58Silver 2009, 145–48, 169–70, 172–74, 213. 59Watson and Todeschini 2006; see also Gill and Tsirogiannis 2016.

Gianfranco Becchina. Alongside them were photographs and other documentary evidence that has helped to identify other material. The objects associated with Italy—some 4,400 items—were returned in three trucks in November 2008. These items were finally displayed to the public in a major press event at the Terme di Diocleziano del Museo Nazionale Romano in January 2015. This attracted major public attention not least because the haul was valued at over €50 million. In 2009, Operation Phoenix returned 251 antiquities worth around €2.7 million from Phoenix Ancient Art based in Geneva. Many objects seem to have been derived from Etruria and southern Italy. The raid on this gallery was significant as this business has also handled such high-profile objects as the Ka-Nefer-Nefer Egyptian mummy mask acquired by the St Louis Art Museum and the Leutwitz bronze Apollo acquired by Cleveland.60 In June 2010, Operation Andromeda contributed to the return of some 337 antiquities worth €15 million to Italy. They had formed part of the stock of the Japanese dealer Noryioshi Horiuchi, who was based in Switzerland. Horiuchi was associated with the supply of objects to the newly established Miho Museum in Japan and was known to have business connections with Becchina. Not all of the raids have taken place in Switzerland. The British authorities seized some 27,000 objects worth US $250 million from 29 warehouses across London.61 These were associated with the London-based dealer Robin Symes.62 In addition, raids on Symes’s villa on the Greek island of Schinoussa allowed the authorities to gain access to a third major archive of photographs and documents. The Italian authorities have requested the return of the seized objects from the government of the United Kingdom, but there has been no satisfactory resolution to date. These major, high-profile raids have provided a snapshot of the workings of the networks of antiquity dealers. The seizure of documentary evidence and photographs of items that have passed through these same dealers in previous years has allowed further identifications to be made. In November 2007, the Royal-Athena Galleries (RAG) in New York agreed to hand over eight items. Three of the pieces had been stolen from Italian collections between 1970 and 1975, and two of them had resided in the Morven (i.e., Kluge) collection. In spite of this claim, RAG continued to handle material that could be identified from the photographic archives. In 2010, Christos Tsirogiannis was able to identify 15 items on sale by RAG that could be identified from the Medici, Becchina, and related photographic archives. RAG has also been associated with the inadvertent handling of material stolen from the archaeological museum in Corinth in 1998. It should be noted that, in June 2012, Dr Jerome Eisenberg, the proprietor of RAG, was awarded the Order of the Star of Italy by the Italian authorities for his cooperation with the investigations into the illicit market.

60Bennett 2013; Gill 2013b, 2014a. 61Watson 2006, 94. 62Tsirogiannis 2012.

Other Manhattan galleries have been linked to returned material. In 2011, a bronze Zeus was returned to Italy. It was recognized that this figure had been stolen from Muzeo Nazionale Romano in 1980. The statue had surfaced in North American exhibitions in 1982 and 1983 with the (clearly false) claim that it had formed part of a Swiss private collection in the 1960s. In 1984, the statue was identified as the property of Edward H. Merrin of New York (hence, the Merrin Zeus). By 1988, it formed part of the Fleischman collection and appeared in the exhibition “The Gods Delight: The Human Figure in Classical Bronze.”63 It was subsequently sold at Sotheby’s New York in December 2004. The Zeus was returned to Italy with a marble female torso that had been stolen from the museum in Terracina in 1988. It had been spotted in a New York gallery by a member of the Italian Carabinieri who had been on holiday in New York. A Roman wall painting from Boscoreale was seized from an unspecified Man- hattan gallery in 2009.64 It had been stolen from the archaeological store at Pompeii around 1997. Five other fragments stolen from the same store at the same time had previously been returned to Italy. Another unnamed Manhattan gallery returned six antiquities to Italy in April 2017. Several pieces have been returned from Christie’s in New York. One of the most important seizures was associated with the June 2009 sale. Prior to the sale, a Corinthian krater was seized. This had first surfaced in an auction at Sotheby’s in 1985. After the sale had taken place, two further items were seized and subsequently returned: an Attic pelike attributed to the Aegisthus painter and an Apulian situla. Both of these pieces had passed through Bruce McNall’s Summa Galleries in Los Angeles, surfacing in 1977 and in the mid-1980s. Christie’s again do not seem to have strengthened its due diligence process, and material identified from the seized photographic archives has continued to appear in its auctions.65 Interestingly Christie’s has tended to reject the identifications and press ahead with the sale of the lots, although this has sometimes meant that their value has been diminished or that lots have been left unsold. Three pieces were identified in the June 2010 sale, including a youth with a cockerel, the property of a Massachusetts private collector, which had surfaced at a Christie’s auction in London in 1997, although the cata- logues failed to note that it had originally surfaced at Sotheby’s in London in July 1992. The Apulian rhyton had surfaced through Sotheby’s in New York in June 1994. A Canosan terracotta had surfaced in London in July 1984 and had passed into an English private collection. Concerns were raised in the press, but Christie’s continued with the sale. Paolo Ferri commented on the action, suggesting that Christie’s was acting unethically.66 Two of the pieces were sold, and one was unsold.

63Kozloff, Mitten, and Fabing 1988. 64Noted in Gill 2009a, 65. 65Tsirogiannis 2013c. 66Ferri quoted in Dalya Alberge, “Critics Say Christie’s Should Pull 3 Items From Auction,” Wall Street Journal June 3, 2010.

More recently, a Sardinian figure, owned by Michael Steinhardt, was offered at auction at Christie’s. An outcry by politicians in Sardinia led to diplomatic approaches to the US authorities. The figure was withdrawn from the auction. Steinhardt is not without interest as he is also a member of the American Advi- sory Board of Christie’s. Bruce McNall has been discussed as the person behind some of the returned material such as the collection formed by the Hunt Brothers or the items acquired by the Getty. Another dealer who has been linked to the returns is Edoardo Almagià. His name was associated with Etruscan silver bracelets that were returned from Cleveland; the items had been given by Courtney Keep in honor of the museum’s curator Arielle Kozloff. Revelations in the June 2010 New York Times led to a further investigation into material acquired by Princeton.67 In December 2011, the museum claimed that six items had been transferred to the Italians. They included an Attic red-figured calyx-krater that had been attributed to Euphronios. However, one of the “items” consisted of 157 terracotta architectural fragments from an Etruscan temple, and a further item consisted of five architectural fragments. Interestingly, these Etruscan objects were linked to an architectural fragment already returned by Princeton that had been provided by the Aboutaam brothers. The revelation meant that Maxwell Anderson conducted an urgent review of any material in Dallas that had been acquired from Almagià, and after a posting on the AAMD’s Object Registry, they were returned to Italy.68 Other museums have also been identified as acquiring objects from Almagià, and it is unclear the state of their internal enquiries into the objects. The seizures have not all taken place in New York. In October 2010, a statue of Zeus stolen from the Norwegian Institute in Rome was returned from an unspecified London dealer. A Roman marble sarcophagus stolen from the Chiesa della Modonna della Libera di Aquino in 1991 was recovered in London as part of Operation Giovenale. In 2008, the sale of the antiquities collection formed by the Australian dealer Graham Geddes at Bonham’s in London was disrupted when the Italian authorities asked for a number of lots to be withdrawn, including the Athenian krater that had featured on the front of the auction house’s magazine that was advertising the sale.69 In the end, 10 lots were withdrawn from the sale, of which seven had surfaced at Sotheby’s in London between 1984 and 1989. Geddes’s name had already been associated with a Lucanian nestoris returned from Boston, and his name appeared against a Lucanian krater that was linked to Medici.

COMMON PATHWAYS

One of the common routes for this archaeological material to enter the market is through Switzerland. Objects have been identified from the Medici and Becchina

67Gill 2012b. 68Gill 2013a. 69Gill 2009d, 83–84.

photographic archives suggesting that they formed the stock in Italy. Several pieces in Boston were sold by the restorer Fritz Bürki. They include the statue of Sabina. The Fleischman collection included a Pontic amphora and an Apulian bell-krater that had been handled by Bürki. At least one object in Madrid appears in a photograph of a group of objects that appear to have been in Bürki’s bathroom studio. It was reported that some of the Cleveland material was derived from Bürki. It appears that some 350 pieces handled by Bürki appear in a series of photographs that are in the possession of the Italian police. Peter Watson’s investigation into the paperwork relating to the department of antiquities at Sotheby’s demonstrates a link between Medici, his Swiss agents, and Sotheby’s.70 Consignment lists to Sotheby’s contain material that can be identified. So far, at least seven objects that have been returned to Italy could be demonstrated to have passed through Sotheby’s in London. This “toxic” route also caused prob- lems for the sale of the Geddes collection at Bonham’s in London when several pieces had to be withdrawn. One of the areas that has not yet been investigated is whether or not Medici made consignments to Sotheby’s in New York. However, it is clear that a handful of pieces identified from the dossier did enter the market via that route, including an Apulian rhyton that surfaced in 1994 and a Peucetian clay stamnos in 1995. These examples raise the specter that there could be further disruptions to unsettle the market, museums, and collectors. The Attic krater returned from Minneapolis had been recorded as forming part of a Swiss private collection.71 However, it appears in a Polaroid within the Medici dossier. It seems that the krater had been passed from Medici to Symes who had sold the piece to Minneapolis. This relationship means that the histories of material handled by Symes need to be investigated.72 His connection with objects has caused disruption at a number of sales including Bonham’s in London and Christie’s in the Rockefeller Centre. Bonham’s has been linked to other items that have been withdrawn from sales or left unsold at auction. Apart from the Geddes sale, these items include a Roman marble statue of a youth that had surfaced through Sotheby’s in London but was identified from the Medici dossier.73 In terms of fragments, there is concern that complete pots may have been delib- erately broken and their fragments passed to individual collectors or dealers who then sold or donated the objects so that they could be reunited in the target museum. An area that has not been explored is the attribution of Athenian and southern Italian pottery to named, largely anonymous, pot painters. It is unclear when scholars were shown the pots or fragments for attribution or if they were

70Watson 1997. 71Gill 2011. 72Tsirogiannis 2012. 73Gill and Tsirogiannis 2011; for further discussion, see Gill 2014b.

unaware that they were commenting on recently surfaced material. It would be of some concern if any of them received payments in kind.

THEMES OF MATERIAL

What sort of archaeological material from Italy was being acquired by North American museums and private collectors? Pottery dominates the returns. Many of the items are complete pieces that are likely to have been removed from graves where they had been protected (with their funerary assemblages) for some 2,500 years. The pottery falls into two main groups: Athenian and southern Italian. The Athenian pottery is dominated by the Sarpedon krater returned by the MMA. The association with Euphronios leads to further companion pieces.74 One is the Kyknos krater returned by Shelby White, and another is the fragmentary calyx-krater (consisting of four pieces) in Princeton. Linked to these pieces is the cup that had formed part of the Hunt collection and had passed into the holdings of Medici. Three pots attributed to the Berlin painter have been returned. Among them is a fragmentary krater that had been acquired by the Getty from 1977 to 1990.75 Among the donors or vendors of the fragments were Dietrich von Bothmer, Herbert Lucas, Vasek Polak, Frederick H. Schultz, Jr, and Robin Symes. A further set of 35 fragments were loaned in 1989 reportedly from Medici. An amphora attributed to the same painter was returned from New York’s MMA.76 Robert Guy supplied some 15 additional fragments. The amphora was identified from the Medici dossier when it was in “the early stages of restoration.” Finally, a hydria was returned from Boston.77 This had been acquired from Bürki. Southern Italian pottery is well represented among the returns.78 Apulian pottery forms a major component. One of the best represented painters is the Darius painter: a volute-krater from Cleveland, an amphora from Boston, a loutrophoros from Princeton, a pelike from the Getty, and a dinos from New York. A pot attributed to the Darius painter was returned as part of Operation Andromeda. The Madrid collection also contains a work attributed to the Darius painter. Works attributed to the Darius painter also feature prominently in a supposed tomb group acquired by Berlin.79 Etruscan material features regularly in the returns. The largest group con- sists of a series of architectural fragments from a temple that was returned

74Musée du Louvre 1990. 75Gill 2012a, 79. 76Gill 2012a, 81. 77Gill and Chippindale 2006, 325, no. 6. 78For some of the issues, see Gill and Chippindale 2008. 79Gill 2009d, 80–82, fig. 2.

by Princeton. Other terracotta architectural fragments include the satyr and Maenad or the two separate groups of fragments from the Getty. Princeton’s return included an Etruscan tufa lion. Other returned pieces include Etruscan bronzes and sculptures. Roman material is less visible in the returns. One of the reasons may be that it is harder to associate material culture with a specific modern nation-state as such items can be found across the lands formally occupied by the Roman Empire. Among these pieces of sculpture are the Roman portrait of Sabina, the marble Fortuna, and the series of sculptures returned from the Getty that may be associated with a villa complex in southern Italy. Three fragments of Roman wall painting from the same composition were returned from the Getty (that had formerly formed part of the Barbara and Lawrence Fleischman collection) and the Shelby White and Leon Levy collection. Other wall-painting fragments were returned as part of Operation Andromeda.

MEMORANDUMS OF UNDERSTANDING AND RECIPROCAL LOANS

One of the ways that the US and Italian authorities have worked together to try and reduce the amount of looting of archaeological sites in Italy has been through a bilateral agreement first made in 2001, amended and extended in 2006 and 2011, and amended and extended in 2016.80 This agreement has sought to identify cultural property that is specifically linked to Italy that would encourage a more thorough investigation when imported to the United States. Controversially, the agreement has been expanded to include certain categories of ancient coins.81 This has been opposed rigorously by lobbying groups representing numismatic dealers not just in North America but also in Europe who are concerned that part of their potential market could be restricted. Part of the bilateral agreement encourages the Italian authorities to protect archaeological sites and their heritage. The level of looting can be measured in part by the apparent decrease in seizures by the Carabinieri. Concerns have been raised about the deterioration of some complex archaeological sites such as Pompeii as evidence that the Italian authorities are not concerned about their cultural heritage. However, all national governments have been facing fiscal pressures during the present economic crisis, and the preservation, protection, and conservation of extensive long-excavated remains that are open to the ele- ments is an issue that remains a long-term problem. It is also a reminder that the excavation of archaeological remains needs to include a long-term plan for

80Gill 2010a. United States–Italy Cultural Property Agreement, 19 January 2001, https://eca.state. gov/cultural-heritage-center/cultural-property-protection/bilateral-agreements/italy/us-italy (accessed 1 June 2018). 81Elkins 2008, 2009.

the display, interpretation, and protection of remains that are deemed worthy of public display. The bilateral agreement has also made provision for the loan of archaeological remains from the major holdings of museums in Italy. These loans have included the bronze chimaera in Florence that was placed on loan to the Getty and Attic pottery that was loaned to the MMA. In addition, the Italians have co-curated a major loan exhibition on Sicily that was displayed in the Getty and in Cleveland.82 University and civic museums such as Dallas, Fordham, and Princeton have been allowed to retain some of the objects that they have acquired, although the legal title has been transferred to the Italian authorities. This reflects the Italian authorities’ willingness to avoid unnecessary disruption to public displays while asserting their legal rights over looted cultural property.

CONCLUSION

The returns from North American museums, private collectors, and galleries have been highly damaging for the reputations of institutions, businesses, and private individuals (Table 1). Some of the reputational damage could have been avoided by the application of more developed ethical standards over acquisitions and the handling of recently surfaced material. The debate about returning antiquities has focused somewhat on why North American museums should be forced to return material to Italy when its museums and archaeological stores are already full of material that cannot be placed on public display. Indeed, there has been a public suggestion by Anna Somers Cocks that the Italian authorities should sell off part of their rich collections to create an income to protect archaeological remains.83 One of the key issues is that looting of archaeological sites has material consequences. Cemeteries are disturbed, grave groups are broken up, associations are lost, and even general information about general find-spots are left unrecorded. The sum total is that very specific information is lost and can never be recovered, even by informed stylistic studies of the material. Thus, the uncon- trolled acquisition of newly surfaced archaeological material by public museums and private collectors in North America (and elsewhere) was unsustainable for the archaeological record. The negative publicity for museums, private individuals, and galleries has discouraged the trade and thereby decreased the demand for material with a linked decrease in looting. Collectors may be seen to be exempt from these concerns. However, there are issues about what happens to the collection when collectors die or no longer wish to own it. Curators in North America will be reluctant to acquire recently surfaced

82Lyons et al. 2013. 83Somers Cocks 2015.

Table 1. Overview of types of material returned to Italy from North American sources (including material placed on loan with museums)

Greek Southern Italian Etruscan Source pottery pottery material Sculpture Other

Boston Museum of Fine Arts 6 5 2 Cleveland Museum of Art 2 8 3 1 2 Dallas Museum of Art 3 3 Fordham University Art Museum 1 J. Paul Getty Museum 20 9 5 11 8a Minneapolis Institute of Art 1 Metropolitan Museum of Art 4 2 15 Princeton University Art Museum 4 2 167 2 Speed Art Museum 1 Toledo Museum of Art 1 University of Virginia Art Museum in 2 Charlottesville Shelby White 5 2 3 Dietrich von Bothmer 41 Christie’s 3 2 1 Royal Athena Galleries 3 4 2 1 Other 3 2 1 7 Total 92 34 187 19 38

Notes: a This does not include the 3,500 Corinthian and Italo-Corinthian fragments returned to Italy in 2001.

material from collectors unless there is authenticated documentation demon- strating that the objects have not been looted. After all, would a museum wish to acquire material from a private collection only to have to go through a damaging return process if the objects were identified from a known or some other photographic archive that will be revealed in the future? But, if the objects are sold through a gallery or auction house, the same concerns are there. It is clear from the sale of the Steinhardt Sardinian figure that once an object is identified from one of the photographic archives, an object has either to be withdrawn from sale or it runs the risk of being left unsold. An object that may have been acquired as an investment could end up as a worthless item—worthless in terms of monetary value and worthless in scientific value as it has been stripped of its archaeological information. The spate of returns as a result of the recovery of the Becchina, Medici, and Schinoussa documentary and photographic archives have been the result not of complex legal cases but, rather, of negotiated returns. Museums and the Italian authorities have been saved the complexity of legal cases that could have cost more than the value of the objects that the Italians were seeking to have returned. And museums have avoided having to release information about acquisition policies and decision-making that could have led to significant embarrassment for directors, trustees, and curatorial staff and implications when staff have moved to other institutions.

The returns have influenced institutional changes in North American museums.84 The newly formulated guidelines for acquiring antiquities and ancient art that have been issued by the AAMD reflect a desire to move in the direction of responsible collecting. Indeed, the creation of the AAMD’s Object Registry shows a desire for museums to adopt a level of transparency. The system, of course, is not perfect. The unwillingness of the MMA to place online even a significant proportion of the Bothmer collection of pottery sherds could be interpreted as protecting the collector’s memory.85 Given that part of the collection has already been returned to Italy, there are genuine concerns that the potsherds include associations that have yet to be made, perhaps with fragmentary pots that have already been returned to Italy. But it takes time to photograph and digi- tize the records, and so we look forward to this task to be completed to allow public scrutiny. More disturbing is the provocative acquisition of apparently newly surfaced antiquities by major museums that could be seen as a challenge to the AAMD’s guidelines. For example, Cleveland acquired the portrait statue of Drusus Minor that it claimed had been acquired from an old Algerian collection. The secure collecting history can only be traced back to 2004, whereas the oral history, unsupported by documented and authenticated paperwork, attempts to place it in the late nineteenth century.86 The return of the portrait to Italy in 2017 is a reminder that the museum had been unwise to pursue the acquisition. In addition, the acquisition of the Leutwitz Apollo by the same museum (and from the same Swiss dealer) has raised concerns about the veracity of part of the collecting history.87 The alleged emergence of the fragmentary statue in a private house in eastern Germany has raised serious questions about the authenticity of the account. This discussion has focused on material derived from Italy, but it is only the tip of the iceberg. Material such as a gold wreath, a marble kore,88 an inscription from Thorikos, and a funerary stele have been returned from the Getty, and Shelby White has returned the upper part of a funerary stele that fits the lower part excavated in a rural cemetery in southern Attica.89 Boston has returned the upper part of the Weary Herakles that fitted the lower part of the statue that had been excavated in Pamphylia in southern Turkey. Dallas has voluntarily returned a Late Roman mosaic to Turkey. Shelby White has agreed to return a set of Roman bronze statues from Icklingham, Suffolk, to the United Kingdom after her death.90

84Gill 2009b. 85Tsirogiannis and Gill 2014. 86Gill 2013b, 72. 87Gill 2013b. 88National Archaeological Museum, Athens. Godart and De Caro 2007, 234–35, no. 68. 89Gill 2009d, 88–91, fig. 4. 90Browning 1995; see also Reynolds 1990.

The returns have demonstrated the power of media, and, increasingly, social media, to influence public opinion and to encourage museum teams to return improperly acquired objects.91 It is unlikely that the Italian authorities would have achieved the same result if they had approached each museum, collector, and gallery through a court case. The costs are also likely to have been prohibi- tive. In the long term, what is needed is a more rigorous due diligence process put in place by the market and a more cautious and ethically responsible approach by museums and other acquirers of such archaeological material.

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Appendix A. Summary list of objects returned from North American museums

MUSEUM OF FINE ARTS, BOSTON

Attic Pottery

1. Attic black-figured hydria, attributed to the Antimenes painter. Inv. 1979.614. Palladion Antike Kunst; Bruce and Ingrid McAlpine. Godart and De Caro 2007, 64–67, no. 6. 2. Attic black-figured lekythos, attributed to the Diosphos painter. Inv. 1989.317. Atlantis Antiquities. Godart and De Caro 2007, 70–73, no. 8. 3. Attic red-figured lekythos, attributed to the Terpaulos painter. Inv. 1977.713. Münzen und Medaillen. Godart and De Caro 2007, 88–89, no. 15. 4. Attic red-figured hydria, attributed to the Berlin painter. Inv. 1978.45. Fritz Bürki. Godart and De Caro 2007, 92–93, no. 17.

5. Attic red-figured pelike, attributed to the Nausicaa painter. Inv. 1979.40. Palladion Antike Kunst. Godart and De Caro 2007, 118–19, no. 28. 6. Attic red-figured bell-krater, attributed to the painter of the Louvre Cen- tauromachy. Inv. 1999.735. Sotheby’s London, 14 December 1995, lot 95. Godart and De Caro 2007, 120–23, no. 29.

Southern Italian Pottery

7. Apulian bell-krater, attributed to the Hoppin painter. Inv. 1988.532. Royal- Athena Galleries. Godart and De Caro 2007, 166–69, no. 44. 8. Apulian amphora, attributed to the Darius painter. Inv. 1991.437. Fritz Bürki; Atlantis Antiquities. Godart and De Caro 2007, 182–85, no. 50. 9. Apulian loutrophoros, attributed to the White Sakkos painter. Inv. 1988.431. Sotheby’s London, 10 December 1984, lot 366; Royal-Athena Galleries; Godart and De Caro 2007, 192–95, no. 53. 10. Lucanian nestoris, attributed to the Amykos painter. Inv. 1971.49. Dr Leo Mildenberg, Bank Leu AG. Godart and De Caro 2007, 160–63, no. 42. 11. Lucianian nestoris, attributed to the Amykos painter. Inv. 1998.588. Sotheby’s London, 13–14 December 1982, lot 298; Sotheby’s London, 10 December 1996, lot 191. Godart and De Caro 2007, 156–59, no. 41.

Sculpture

12. Portrait statue of Sabina. Inv. 1979.556. Purchased from Fritz Bürki. Godart and De Caro 2007, 232–33, no. 67; Volpe 2009, 40–41, no. 9. 13. Roman candelabrum shaft. Inv. 1992.310. Gift of Emily T. Vermeule and Cornelius C. Vermeule III.

CLEVELAND MUSEUM OF ART

Greece

1. Donkey-head rhyton, Greece, fifth century bc, c. 475 bc. Inv. 1977.92.

Corinthian

2. Column-krater, Greece, Late Early Corinthian–Early Middle Corinthian, c. 600–590 bc. Inv. 1990.81.

Apulian

3. Apulian volute-krater, attributed to the Darius painter, c. 330 bc. Inv. 1988.41.

4. Apulian or Campanian red-figure lid with bowl, southern Italy, fourth century bc. Inv. 1986.200. Gift of Jonathan P. Rosen. 5. Apulian Gnathia flat-bodied epichysis, Italy, Middle Gnathia, 340–320 bc. Inv. 1986.201. Gift of Jonathan P. Rosen. 6. Apulian Gnathia round-bellied epichysis, Italy, Middle Gnathia, c. 340–320 bc. Inv. 1986.202. Gift of Jonathan P. Rosen. 7. Apulian Gnathia lekythos, Italy, Middle Gnathia, 340–330 bc. Inv. 1986.203. Gift of Jonathan P. Rosen.

Campanian

8. Campanian red-figure acorn lekythos, Campania, c. 350–320 bc. Inv. 1986.204. Gift of Jonathan P. Rosen. 9. Campanian bird askos, northern Campania, c. 310–280 bc. Inv. 1987.209. Gift of Mr and Mrs Lawrence A. Fleischman.

Sicilian

10. Sicilian plastic vase in the form of a pig, Sicily, c. 425 bc. Inv. 1975.91.

Etruscan

11. Red-figure duck askos, Italy, probably Chiusi, Etruscan, c. 350 bc. Inv. 1975.23. 12(a)–(b). Two bracelets, Italy, Etruscan, sixth century bc. Inv. 1996.16, 1996.17. Gift of Edoardo Almagià and Courtney Keep in honor of Arielle P. Kozloff.

Sardinian

13. Warrior, Sardinia, 900–700 bc. Inv. 1990.1.

Sculpture

14. Portrait head of Drusus Minor, marble, found at Sessa Aurunca. Inv. 2012.29. Removed from archaeological store.

Later Piece

15. Processional Cross, Italy, Tuscany, Siena, c. 1350. Inv. 1977.75.

DALLAS MUSEUM OF ART

Legal ownership transferred to Republic of Italy; now on loan to Dallas.

Southern Italian Pottery

1. Apulian volute-krater, attributed to the Underworld painter. Inv. 1998.74; now Inv. 135.2012.4. Purchased from Edoardo Almagià, May 1998. From an “English collection.” 2. Apulian volute-krater, attributed to the Metope group. Now Inv. 135.2012.2. Acquired Sotheby’s, New York, Antiquities Sale no. 6863, 13 June 1996, lot 87. Said to be Gianfranco Becchina; previously Sotheby’s New York, 18 June 1991. 3. Campanian calyx-krater. Now Inv. 135.2012.3. Acquired from Ward & Co. Previously in a Swiss private collection and reportedly handled by Gianfranco Becchina.

Etruscan

4(a)–(b). Pair of Etruscan bronze shields. Inv. 1998.115.1–2.M; now Inv. 135.2012.5-6. Acquired from Edoardo Almagià, June 1998. 5. Etruscan antefix. Now Inv. 135.2012.1. Purchased from Robin Symes. Said to have been in the Henri Jacques collection, Geneva. Identified from the Medici dossier.

FORDHAM UNIVERSITY ART MUSEUM

Legal ownership transferred to Republic of Italy; now on loan to Fordham.

1. Villanovan impasto hut. Inv. 4.021. Cavaliere and Udell 2012, 134–35, no. 37.

J. PAUL GETTY MUSEUM, MALIBU

Corinthian

1. Fragmentary Corinthian olpe. Inv. 81.AE.197.2. Godart and De Caro 2007, 84–85, no. 2.

Attic Black-Figured Pottery

2. Attic black-figured zone cup, manner of Lysippides painter. Inv. 87.AE.22. Fritz Bürki. Godart and De Caro 2007, 68–69, no. 7; Volpe 2009, 28–29 no. 3. 3. Attic black-figured amphora, attributed to the painter of Berlin 1686 (D. von Bothmer). Inv. 96.AE.92. Barbara and Lawrence Fleischman Collec- tion. Reassembled by Fritz Burki (1988); Atlantis Antiquities (1988). True and Hamma 1994, no. 34; Godart and De Caro 2007, 60–61, no. 4.

4. Attic Black-figured amphora, attributed to the Three-line group (D. von Bothmer). Inv. 96.AE.93. Barbara and Lawrence Fleischman Collection. Purchased from Fritz Burki (1989). Said to have been found with two other pots (in the possession of Robert Hecht and Robin Symes). True and Hamma 1994, no. 35; Godart and De Caro 2007, 62–63, no. 5.

Attic Red-Figured Pottery

5. Attic red-figured cup, attributed to Onesimos/Euphronios. Inv. 83.AE.362. Two further fragments were recovered from Giacomo Medici, 2005 and another fragment seized in Cerveteri, 2008. Godart and De Caro 2007, 78–79, no. 10. 6. Attic red-figured neck-amphora, attributed to Euthymides. Inv. 84.AE.63. Godart and De Caro 2007, 80–81, no. 11. 7. Attic red-figured kylix, attributed to Epiktetos. Inv. 83.AE.287. Godart and De Caro 2007, 82–83, no. 12. 8. Attic red-figured cup, attributed to the Nikosthenes painter and to the potter Pamphaios (J. Robert Guy). Inv. 96.AE.97. Barbara and Lawrence Fleischman Collection. Purchased from Robin Symes, 1988. True and Hamma 1994, no. 39; Godart and De Caro 2007, 84–85, no. 13. 9. Attic red-figured calyx-krater fragments, attributed to the Kleophrades painter. Inv. 77.AE.5. Godart and De Caro 2007, 94–95, no. 18. 10. Attic red-figured hydria, attributed to the Kleophrades painter. Inv. 85.AE.316. Robin Symes. Godart and De Caro 2007, 96–97, no. 19. 11. Attic red-figured amphora with lid, attributed to the Geras painter. Inv. 79.AE.139. Godart and De Caro 2007, 98–101, no. 20. 12. Attic red-figured cup, signed, Douris egraphsen. Inv. 84.AE.569. Robin Symes. Godart and De Caro 2007, 104–5, no. 22. 13. Attic red-figured mask kantharos, attributed to the Foundry painter (Robert Guy). Euphronios as potter. Inv. 85.AE.263. Robin Symes; Fritz Bürki. Godart and De Caro 2007, 106–9, no. 23. 14. Douris phiale fragments. Inv. 81.AE.213. Gift of Werner Nussberger; Galerie Nefer; anonymous loan. Godart and De Caro 2007, 110–11, no. 24. 15. Attic red-figured calyx-krater, attributed to the Copenhagen/Aegisthus painters. Inv. 88.AE.66. Münzen und Medaillen. Godart and De Caro 2007, 112–13, no. 25; Volpe 2009, 32–33, no. 5. 16. Attic janiform kantharos, attributed to the Sabourouff class or the Vatican class. Inv. 83.AE.218. Godart and De Caro 2007, 114–15, no. 26. 17. Attic red-figured calyx-krater, Syriskos (signature). Inv. 92.AE.6 and 96.AE.335. Robin Symes; Fleischman collection. Godart and De Caro 2007, 116–17, no. 27. 18. Attic red-figured bell-krater. Inv. 81.AE.149. Godart and De Caro 2007, 124–25, no. 30.

19. Attic red-figured calyx-krater (“Birds”), attributed to the manner of the painter of Munich 2335 (J.R. Green). Inv. 82.AE.83. Godart and De Caro 2007, 126–27, no. 31. 20. Attic red-figured calyx-krater fragments, attributed to the Berlin painter. Inv. 77AE.5.

Apulian

21. Apulian red-figured volute-krater, attributed to the Sisyphus painter. Inv. 85.AE.102. Fritz Bürki, Godart and De Caro 2007, 164–65, no. 43. 22. Apulian red-figured bell-krater, attributed to the Choregos painter (A. D. Trendall). Inv. 96.AE.29. Barbara and Lawrence Fleischman Collection. Acquired from Fritz Burki. True and Hamma 1994, no. 56; Godart and De Caro 2007, 170–71, no. 45. 23. Apulian pelike with arms of Achilles, attributed to near the group of Ruvo 424. Inv. 86.AE.611. Fritz Bürki. Godart and De Caro 2007, 172–75, no. 46. 24. Apulian red-figured pelike, attributed to the Darius painter. Inv. 87.AE.23. Fritz Bürki. Godart and De Caro 2007, 180–81, no. 49. 25. Apulian red-figured loutrophoros, attributed to the Metope group. Inv. 84.AE.996. Atlantis Antiquities. Godart and De Caro 2007, 190–91, no. 52; Volpe 2009, 34–35, no. 6. 26. Apulian red-figured volute-krater, attributed to the White Saccos painter. Inv. 77.AE.13. Godart and De Caro 2007, 196–97, no. 54. 27. Apulian red-figured volute-krater, attributed to the White Saccos painter. Inv. 77.AE.14. Godart and De Caro 2007, 198–99, no. 55.

Paestan

28. Asteas krater, attributed to Asteas. Acq. 1981. Godart and De Caro 2007, 176–77, no. 47. 29. Paestan squat lekythos, attributed to Asteas. Inv. 96.AE.119. Barbara and Lawrence Fleischman. Godart and De Caro 2007, 178–79, no. 48.

Etruscan

30. Etruscan red-figured plastic duck askos. Inv. 83.AE.203. Godart and De Caro 2007, 142–45, no. 36.

Pontic

31. Pontic amphora, attributed to the Tityos painter. Inv. 96.AE.139. Fritz Bürki; Barbara and Lawrence Fleischman. Godart and De Caro 2007, 130–31, no. 32.

Bronzes

32. Etruscan bronze candelabrum. Inv. 1990.AC.16. Returned 2005. New York art market. Volpe 2009, 42–43, no. 10. 33. Etruscan bronze candelabrum. Inv. 90.AC.17. Returned 1996. New York art market. Walsh 1991, 137, no. 10; Volpe 2009, 42–43, no. 10. 34. Bronze mirror with relief-decorated cover. Inv. 96.AC.132. Barbara and Lawrence Fleischman Collection. Apparently found at Tarquinia. True and Hamma 1994, no. 83; Godart and De Caro 2007, 146–47, no. 37. 35. Askos in shape of siren. Inv. 92.AC.5. Lawrence Fleischman. Godart and De Caro 2007, 154–55, no. 40.

Sculpture

36. Cult statue of a goddess, perhaps Aphrodite. Inv. 88.AA.76. Malibu, J. Paul Getty Museum, 1997, 83. 37. Marble group of two griffins attacking a fallen doe. Inv. 85.AA.106. Maurice Tempelsman. Godart and De Caro 2007, 200–3, no. 56. 38. Marble lekanis. Inv. 85.AA.107. Maurice Tempelsman. Godart and De Caro 2007, 204–5, no. 57. 39. Statuette of Tyche. Inv. 96.AA.49. Barbara and Lawrence Fleischman Collec- tion. Purchased from Robin Symes; purchased from the Fleischmans for US $2 million. True and Hamma 1994, no. 120; Godart and De Caro 2007, 208–9, no. 58; Volpe 2009, 38–39, no. 8. 40. Marble bust of a man. Inv. 85.AA.265. Godart and De Caro 2007, 216–17, no. 61. 41. Marble statuette of Dionysos with an animal. Inv. 96.AA.211. Barbara and Lawrence Fleischman. Godart and De Caro 2007, 228–29, no. 65. 42. Statue of Apollo. Inv. 85.AA.108. Maurice Tempelsman. Godart and De Caro 2007, 230–31, no. 66. 43. Fragments of marble vessels, handles, rims (86). Inv. 88.AA.140-.42. Gift of Robin Symes. Returned 2012. 44. Four marble stands. Inv. 88.AA.143. Gift of Robin Symes. Returned 2012. 45. Three marble feline paws. Inv.88.AA.144. Gift of Robin Symes. Returned 2012. 46. Seated Zeus, marble. Returned 2017. Inv. 92.AA.10. Robin Symes (1987); sold by Barbara and Lawrence Fleischman.

Wall Painting

47. Fragment of a fresco: lunette with mask of Hercules. Inv. 96.AG.171. Barbara and Lawrence Fleischman Collection. Purchased from Fritz Burki. Associated with a fragment in the Shelby White collection (see below, Appendix B,

No. 9), and another from the Fleischman collection (see No. 48). True and Hamma 1994, no. 126; Godart and De Caro 2007, 201–13, no. 59. 48. Fragment of a fresco; vignettes of cityscape. Inv. 96.AG.170. Barbara and Lawrence Fleischman Collection. True and Hamma 1994, no. 125. 49. Fresco fragments. Inv. 71.AG.111, 1, 3, 4, 5, 6, 7. Royal Athena Galleries. Godart and De Caro 2007, 218–25, nos. 62–63.

Terracotta

50. Etruscan antefix in the form of a maenad and Silenos dancing. Inv. 96.AD.33. Lawrence Fleischman. Godart and De Caro 2007, 136–39, no. 34. 51. Terracotta head of Hades. Inv. 85.AD.105. Lyons et al. 2013, 192, fig. 133.

Inscription

51. Lex sacra from Selinunte. Lead. Acq. 1981. Returned 1992. Godart and De Caro 2007, 152–53, no. 39. 52. Greek inscription. Stone. Returned 2005.

MINNEAPOLIS INSTITUTE OF ART

1. Attic red-figured volute-krater, attributed to the Methyse painter. Inv. 83.80. Acquired from Robin Symes. Padgett 1983–86 [1991].

METROPOLITAN MUSEUM OF ART

Laconian

1. Laconian cup with warrior, attributed to the Hunt painter. Inv. 1999.527. Gift from the family of Howard J. Barnet. “Lent to the Museum periodically since 1981,” according to Joan R. Mertens. Mertens in Arnold et al. 2000, 13; Godart and De Caro 2007, 56–57, no. 3.

Attic

2. Attic red-figured calyx-krater, “signed” by Euphronios. Inv. 1972.11.10. Bothmer 1987, 34–39, no. 19; Godart and De Caro 2007, 76–77, no. 9; Volpe 2009, 44–45, no. 11. 3. Attic red-figured psykter with young horsemen, attributed to Smikros (J. Robert Guy). Formerly New York L1980.104 (loan from Mr and Mrs Spears, Riverdale, New York). Inv.1996.250. Gift of Thomas A. and Colette Spears. Von Bothmer 1997, 12; Godart and De Caro 2007, 86–87, no. 14.

4. Attic red-figured amphora with cithara player, attributed to the Berlin painter. Inv. 1985.11.5. Sold at auction, Sotheby’s London, 13–14 December 1982, lot 220. Von Bothmer 1985–86, 9; Godart and De Caro 2007, 90–91, no. 16.

Apulian

5. Apulian red-figured dinos with Herakles and Busiris, attributed to the Darius painter. Inv. 1984.11.7. Purchase, Bothmer Purchase Fund, Rogers Fund, and Norbert Schimmel and Helen H. Mertens Gifts, 1984; Anonymous Gift, 1989. Von Bothmer 1984–85, 6–7; Godart and De Caro 2007, 186–89, no. 51.

Paestan

6. Paestan bell-krater, attributed to Python. Inv. 1989.11.4. Sotheby’s New York, June 1989. Identified from images in the Medici dossier.

Hellenistic Silver

7-21. Hoard of Hellenistic silver, 15 pieces, apparently found at Morgantina. Purchased from Robert Hecht. Inv. 1981.11.15-22, 1982.11.7-13, 1984.11.3. Von Bothmer 1984–85, 54–60, nos. 92-106; Watson and Todeschini 2006, 106.

PRINCETON UNIVERSITY ART MUSEUM

Four objects to be transferred in title but to remain on loan to the Princeton University Art Museum from the Ministry of Cultural Properties and Activities of the Republic of Italy.

1. Attic red-figured psykter depicting symposium, or drinking-party, attributed to the Kleophrades painter, c. 510–500 bc. Inv. y1989-69. Museum purchase, gift of Peter Jay Sharp through the Peter Jay Sharp Foundation; Lloyd E. Cotsen; John B. Elliott; Jonathan P. Rosen, through the Jonathan Rosen Foundation. Princeton University Art Museum 1990, 46 (ill.), 47. 2. Apulian red-figured loutrophoros, attributed to the Darius painter, depicting the mourning of Niobe and woman and youths at a fountain house, c. 335–325 bc. Inv. y1989-29. Museum purchase, anonymous gift. Princeton University Art Museum 1990, 47 (ill.), 53. 3. Apulian red-figured volute-krater, depicting the return of Perseus to Seriphos and Dionysos, maenads and satyrs, c. 370–360 bc. Inv. y1989-40. Museum purchase, anonymous gift. Princeton University Art Museum 1990, 47 (ill.), 53. 4. Head of a winged lion (brown volcanic stone), Etruscan, c. 550–525 bc. Inv. y1994-58. Museum purchase, John Maclean Magie and Gertrude Magie Fund. Princeton University Art Museum 1995, 68, 69 (ill.).

Four objects to be transferred from the Princeton University Art Museum to the Ministry of Cultural Properties and Activities of the Republic of Italy.

5. Painted terracotta columen plaque with a centaur in relief, Etruscan, southern Etruria or Latium, c. 500–480 bc. Inv. 1995.129. Gift of Ali and Hicham Aboutaam. Princeton University Art Museum 1997a, 61, 62 (ill.). 6. Oinochoe with a serpent around the body, Etruscan, c. 675 bc. Inv. 1995.149. Museum purchase. Princeton University Art Museum 1997a, 61 (ill.); Godart and De Caro 2007, 52–53, no. 1; Volpe 2009, 24–25, no. 1. 7. Etruscan black-figured skyphos fragment with a sprinting youth, c. 510–500 bc. Inv. 1995-64. Gift of Brian T. Aitken. Princeton University Art Museum 1997a, 61, 62 (ill.). 8. Carian round-mouthed oinochoe, attributed to the Ivy Leaf group, naked male runners holding large ivy leaves, East Greek style, c. 540–530 bc. Inv. y1989-53. Museum purchase, anonymous gift. Princeton University Art Museum 1990, 45 (ill.).

Seven objects to remain permanently at the Princeton University Art Museum.

9. Corinthian plate with the ransom of Hector, c. 580–570 bc. Inv. y1989-25. Museum purchase, anonymous gift in memory of Isabelle K. Raubitschek and to honor Antony E. Raubitschek. Princeton University Art Museum 1990, 44 (ill.), 47. 10. Attic red-figured kylix, depicting on its inside Hermes and one of the cattle of Apollo and, on its outside, infant Hermes and the cattle of Apollo, attributed to the Brygos painter, c. 490–480 bc. Inv. 1990-2. Museum purchase, anonymous gift in honor of J. Robert Guy. Princeton University Art Museum 1991, 57 (ill.), 58. 11. Fragment from an Attic red-figured lekythos, depicting flying Nike, attributed to the Pan painter, c. 480–470 bc. Inv. 1998-223. Gift of Mr and Mrs Peter Sharrer in honor of Allen Rosenbaum. Princeton University Art Museum 1999, 114, 115 (ill.). 12. Teano ware vessel in the form of a bird, clay, Campanian, c. 325–300 bc. Inv. y1990-76. Anonymous gift. Princeton University Art Museum 1991, 58 (ill.), 60. 13. Apulian guttus in the form of a drunken Silenus, clay, fourth century bc. Inv. 2000-145. Museum purchase, gift of an anonymous Friend. Princeton University Art Museum 2001, 89 (ill.), 90. 14. Pair of charging Amazons, painted terracotta, southern Italy, Canosa, c. 300–280 bc. Inv. 1995-110, 1995-111. Museum purchase, Carl Otto von Kienbusch, Jr, Memorial Collection Fund. Princeton University Art Museum 1997a, 64 (ill.), 67. 15. Inlaid dagger and sheath (bronze, iron, silver, gold, niello), Roman, c. first– second centuries ad, signed by Honillius. Inv. 1999-148. Museum purchase,

Carl Otto von Kienbusch, Jr, Memorial Collection Fund. Princeton Univer- sity Art Museum 2000, 92, 95 (ill.).

Additional list returned to Italy

16. A pair of female statuettes, one playing a tambourine and the other playing a lyre, Canosan. Apparently Inv. y1993-28 and Inv. y1993-28. Both Museum purchases and source unstated. Princeton University Art Museum 1994, 83. 17. Five fragments of an architectural relief. Edoardo C. Almagià gave four Etruscan architectural reliefs in 1995: Inv. 1995-125, 1995-126, 1995-127, 1995-128. A fifth architectural fragment, joining Inv. 1995-127, was given by Almagià in 1999 (Inv. 1999-4). Princeton University Art Museum 1997a, 61; Princeton University Art Museum 2000, 91. 18. A group of fragmentary architectural revetments, 157 fragments. Etruscan. Inv. 1996-343.1-57, 1996-48.1-100. Both groups (in total, 157 fragments) were gifts of Almagià. Princeton University Art Museum 1997b, 103, 104. 19. A pithos in white-on-red style. Inv. 1999-8. Gift of Edoardo C. Almagià … in honor of Allen Rosenbaum. Princeton University Art Museum 2000, 91, 93 (ill.). 20. A black-glazed askos in the form of an astragal. Apparently Inv. 2002-156. Gift in memory of Emily Townsend Vermeule, Honorary Degree Holder of the Class of 1989. Princeton University Art Museum 2003, 154. 21. Four fragments of a red-figure calyx-krater, attributed to Euphronios, Attic red-figured. The krater fragments, attributed to Euphronios by Padgett and showing Ajax carrying the dead Achilles, were acquired in 1997. Inv. 1997-488 a-d. Museum purchase, Fowler McCormick, Class of 1921, Fund. Princeton University Art Museum 1998, 194, 197 (ill.); Padgett 2001.

SPEED ART MUSEUM, LOUISVILLE, KENTUCKY

Ownership transferred to Republic of Italy and to remain on loan at the museum.

1. Paestan krater. Inv. 90.7. Acquired from Robin Symes.

TOLEDO

1. Etruscan black-figured hydria, attributed to the Michali painter. Acquired 1982.

UNIVERSITY OF VIRGINIA ART MUSEUM IN CHARLOTTESVILLE

1. Two acrolithic statues. Acquired by Maurice Tempelsman in 1980. Donated 2002.

Appendix B. Summary list of objects returned from the Shelby White collection

Chalcidian

1. Chalcidian neck-amphora, attributed to the painter of the Cambridge Hydria Cavalcade. Von Bothmer 1990, no. 102; Watson and Todeschini 2006, 352: “Appears among many seized photographs, where it is shown before proper restoration, with many gaps between the fragments.”

Attic

2. Attic black-figured neck-amphora of Panathenaic shape, attributed to the painter of Louvre F6. Sotheby’s London, 17 July 1985, lot 313. Von Bothmer 1990, no. 104; Watson and Todeschini 2006, 352: “In the Polaroids, the amphora is broken and dirty with earth. In the other photographs … it is shown as restored.” 3. Attic black-figured neck-amphora, attributed to the painter of the Medea group. Von Bothmer 1990, no. 107; Watson and Todeschini 2006, 353: “In four seized Polaroid photographs.” 4. An Attic red-figured calyx-krater, Herakles slaying Kyknos, Euphronios. According to Watson and Todeschini, “Medici … Hecht … Summa Gallery”; then Hunt collection; Sotheby’s New York, 19 June 1990 (US $1.76 million); Robin Symes (on behalf of Leon Levy and Shelby White). Boardman 2001, fig. 120; Watson and Todeschini 2006, 128–32, Polaroids shown in “dirty and in separate fragments.” 5. Attic red-figured calyx-krater, A: Zeus and Ganymede, B: Herakles and Iolaos, attributed to the Eucharides painter. The underside of the foot appears to carry an Etruscan graffito. Von Bothmer 1990, no. 117; Watson and Todeschini 2006, 353, known from the Geneva Polaroids (“appears in fragments”); Volpe 2009, 30–31, no. 4.

Caeretan

6. Caeretan hydria, showing a panther and lioness. Watson and Todeschini 2006, 353–54: “Both these vases were shown in the seized photographs, where they are both broken and in fragments, with sizable gaps.” 7. Caeretan hydria, showing Odysseus and Polyphemos’ cave. Watson and Todeschini 2006, 353–54; Volpe 2009, 26–27, no. 2.

Bronzes

8. Bronze statue of naked youth. Said to have been acquired from Robin Symes. Von Bothmer 1990, no. 87; Watson and Todeschini 2006, 352: “This appears

in three Polaroid photos and in about ten photographs in which the small bronze clearly appears still dirty with earth.”

Wall Paintings

9. Fragment of Roman fresco. This appears to have come from the same room as two fragments, once in the Fleischman collection, and now returned to Italy from the Getty. Von Bothmer 1990, no. 142. 10. Fragment of Roman fresco, reclining woman. Reportedly removed from the “Pompeii excavations, RegioVII, Insula occidentalis 42” on 31 May 1975. Maxwell L. Anderson has noted in the catalogue, “the villa in which the fresco served as a wall decoration conceivably situated in the area of Castellammare di Stabia.” Von Bothmer 1990, no. 143.

Appendix C. Objects from North American private collections

DIETRICH VON BOTHMER COLLECTION

1. 40 fragments. Returned January 2012. Gill 2012a. 2. Cup fragments, attributed to the Euaion painter. Fits cup in the Villa Giulia. Tsirogiannis and Gill 2014.

MICHAEL STEINHARDT COLLECTION

1. Gold phiale. Seized 1995. Lyons et al. 2013, 44–46, fig. 24.

UNSPECIFIED NEW YORK PRIVATE COLLECTION

1. Bronze Zeus. Stolen from the Museo Nazionale romano, 1980. Property of Edward H. Merrin (in 1984); Barbara and Lawrence Fleischman; Sotheby’s New York, 9 December 2004, lot 249; New York collector.

Appendix D. Summary list of objects returned from North American auction houses and galleries

CHRISTIE’S

1. Corinthian column-krater. Christie’s New York, 3 June 2009. 2. Attic red-figured pelike, attributed to the Aegisthus painter. Christie’s New York, 3 June 2009, lot 120. Previously Summa Galleries.

3. Attic red-figured skyphos, attributed to the Penelope painter. Consigned to Christie’s; seized from Walter M. Banko, Montreal. Passed through Becchina, 1982. 4. Apulian red-figured situla. Christie’s New York, 3 June 2009, lot 132. Previously Summa Galleries. 5. Apulian bell-krater. Consigned to Christie’s; seized from Walter M. Banko, Montreal. Passed through Becchina, 1992; restored by Ettore Bruno, October 1992; purchased from Raffaele Monticelli, February 1992. 6. Roman janiform head. Christie’s, 11 December 2009, lot 141. Consigned by Mr and Mrs Charles W. Newhall III, 2005–9; Walter Bank of Montreal; Becchina photographic archive.

ROYAL-ATHENA GALLERIES

1. Attic black-figured neck-amphora, showing Hephaistos, attributed to the Leagros group. Sotheby’s, 14 December 1987, lot 295. 2. Attic red-figured hydria, showing women. 3. Attic red-figured column-krater, showing Dionysos, attributed to the Geras painter. Godart and De Caro 2007, 102–3, no. 21. 4. Pontic oinochoe showing warriors, attributed to the Tityos painter. Godart and De Caro 2007, 132–35, no. 33. 5. Etruscan bronze figure. Stolen from Museo Nazionale Etrusco di Chiusi, 28 April 1971. Godart and De Caro 2007, 148–49, no. 38. 6. Etruscan bronze Nike. Found at Herculaneum, Casa del Colonnato Tuscanico. Stolen from la Soprintendenza archeologica di Ercolano, Napoli, 23–24 July 1975. Godart and De Caro 2007, 226–27, no. 64; Volpe 2009, 36–37, no. 7. 7. Etruscan bronze athlete with strygil. Stolen from Museo Archaeologico Nazionale “Spina” di Ferrara, 3 August 1970. Godart and De Caro 2007, 140–41, no. 35. 8. Roman marble nymph from fountain. 9. Roman bronze statue of Venus. Stolen from Museo Civico, Rimini, 1962. Returned 2012. 10. Roman sarcophagus fragment. Gianfranco Becchina, May 1988; Swiss art market, 1991; Royal-Athena Galleries, 1992, 2000; Dr H collection, Germany; Royal-Athena Galleries, 2016. Returned 2017.

UNSPECIFIED IMPORTER, SEIZED AT NEWARK LIBERTY AIRPORT

1. Paestan tomb fragment. Seized April 2011. Apparent intended recipient: Michael Steinhardt.

UNSPECIFIED GALLERY, MADISON AVENUE

1. Female torso. Stolen from Terracina, 1988.

UNSPECIFIED GALLERY A, MANHATTAN

1. Sardinian bronze ox. Eighth century bc. 2. Sardinian bronze warrior wearing a helmet and carrying a bow, eighth century bc. Geneva private collection, 1990; Royal-Athena Galleries, 2012. 3. Bronze Herakles holding the horn of Achelous, Greek, fourth–third centuries bc. 4. Proto-Corinthian oenochoe, decorated with rams and panthers, c. 650 bc. 5. Apulian Xenon kantharos, decorated with the image of two goats butting heads, late fourth century bc. Basel, 1994; New York private collection; New York, J.M.E. collection; Royal-Athena Galleries, 2017. 6. Paestan red-figure lekythos, decorated with a man holding a plate of fruit, attributed to the Asteas-Python workshop, c. 340 bc. Swiss private collection; Royal-Athena Galleries, 1987–88; John Kluge private collection; Patricia Kluge private collection; Royal-Athena Galleries, 2010.

UNSPECIFIED GALLERY B, MANHATTAN

1. Attic lekythos, attributed to the group of Palermo 16. Old English collection; Kluge collection.

UNSPECIFIED GALLERY C, MANHATTAN

1. Attic Nolan amphora, attributed to the Harrow painter. Swiss private collection; Royal-Athena Galleries, 2000; C.H. collection, Ann Arbor, MI; exhibited, Yale University Art Museum, 2003–15.

UNSPECIFIED, NEW YORK AUCTION

1. Roman fresco. Found at Boscoreale, in archaeological store at Pompeii. Stolen, June 1997. Due to be sold at auction in New York, June 2009. Other material recovered in London, October 2008.