The Trial (without result) of former Getty curator Marion True has been covered here many times before. The book “Chasing Aphrodite” aims to retell some of this story, as well as the background to it.

From:
New York Review of Books

What Went Wrong at the Getty
June 23, 2011
Hugh Eakin

Chasing Aphrodite: The Hunt for Looted Antiquities at the World’s Richest Museum
by Jason Felch and Ralph Frammolino
Houghton Mifflin Harcourt, 375 pp., $28.00

1.

On August 5, 70 BC, at 1:30 in the afternoon, a remarkable criminal trial began in Rome. A young prosecutor named Marcus Tullius Cicero was accusing a senior Roman political official, Gaius Verres, of extortion and misrule during Verres’s tenure as governor of Sicily. “For three long years he so thoroughly despoiled and pillaged the province that its restoration to its previous state is out of the question,” Cicero proclaimed in his bold opening statement.
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The authors of Chasing Aphrodite, Jason Felch and Ralph Frammolino are taking part in an event in Washington to discuss looted antiquities and transparency in American museums.

From:
National Press Club

Chasing Aphrodite: Investigative Journalists Track Down Looted Antiquities
January 24, 2012 6:00 PM

This is a ticketed event. Click here to jump to the ticket form.

Investigative journalists to analyze looted antiquities, and museum transparency

Jason Felch and Ralph Frammolino, investigative journalists and authors of “Chasing Aphrodite: The Hunt for Looted Antiquities at the World’s Richest Museum” will join Gary Vikan, director of the Walters Art Museum and Arthur Houghton, a former curator at the Getty Museum, to discuss looted antiquities and transparency in American museums at 6 p.m. Jan. 24 in the National Press Club ballroom.
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Looting of artefacts, particularly during invasions & times of occupation, is something that has gone on for thousands of years. More recently though, some cases have gained a much higher profile & in some instances, this has led to the disputed artefacts being voluntarily returned.

From:
The National (UAE)

Homelands seek to reclaim art gone astray
Anna Blundy
Last Updated: Feb 1, 2011

According to the Book of Chronicles in the Bible’s Old Testament, “King Shishak of Egypt attacked Jerusalem and took away the treasures of the Lord’s temple and of the royal palace. He took everything, including the gold shields that Solomon had made.”

Seizing the artworks of a country or a people has always been used as a politically motivated cultural rape in times of conflict. Thus, artworks of disputed ownership have always been in the news. Just last week Germany again rejected Egypt’s demand to return its 3,350-year-old bust of Nefertiti, and there have been battles over ancient Etruscan artwork and Aztec artefacts, not to mention the Elgin Marbles, a collection of classical Greek marble sculptures, inscriptions and architectural artefacts that were part of the Parthenon and other buildings on the Acropolis of Athens. They were brought to Britain by Lord Elgin in the early 1800s, remain in the British Museum and look likely to stay there.
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Following on from the end of Marion True’s trial, it seems as though this is a case where the approach of direct legal action by Italy may have caused as many problems as it solved. Huge amounts were spent on a trial involving an institution that had been largely cooperative regarding the return of disputed artefacts in the past (bear in mind that this article is from the perspective of the Getty however – I think that this cooperation might not have seemed to apparent to the other parties that wanted artefacts returned that they knew were looted, yet didn’t have conclusive proof of this.

From:
The Art Newspaper

“Neither condemned nor vindicated”
Marion True on why it is hard to accept the lack of verdict after her five-year trial
By Marion True | From issue 220, January 2011
Published online 5 Jan 11 (News)

The trial of Marion True, the former antiquities curator of the Getty Museum (which for many years has been one of the leading collectors of world-class antiquities), for conspiring to receive antiquities that had been illegally excavated and exported from Italy, began on 16 November 2005. The Art Newspaper has been covering the trial since its outset. Until March 2009, the prosecution worked through its case, and then the defence began cross-examining witnesses, but True has had no opportunity to present her case directly. Here, she tells The Art Newspaper about the trial and its outcome.

A headline in The Art Newspaper in June 2010 announced that the trial in Rome against me had “collapsed” after five years, the statutes of limitations for all crimes of which I was accused by the Italian state having expired. The court officially recognised this fact on 13 October in a hearing of 12 minutes. Thus, my five-year long trial ended without judgment—neither condemnation nor vindication, a reality hard to accept, given the distorted and slanderous allegations against me. Throughout, my lawyers advised me not to speak out, not to undermine my defence.
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The Getty Villa’s Cult Statue of a Goddess is returning to Sicily, where it is thought to have been illegally excavated in the 1970s. This decision to return the statue follows earlier refusals when the museum previously insisted that it had acted in good faith when purchasing the sculpture. This is Sicily’s second successful artefact restitution in recent weeks, following the Morgantina Silver returned by New York’s Metropolitan Museum.

Various other artefacts (currently the sculpture of the Agrigento Youth) are being loaned to the Getty by Italy in return for the ongoing restitution programme. This is a similar arrangement to the offer that has previously been put forward by Greece to the British Museum as a proposal to enable the return of the Parthenon Sculptures.

LA Times

Getty Villa prepares to say farewell to its goddess
The museum welcomes the culture minister of Sicily, where the ancient sculpture will return, ending decades of contention over looted artworks.
By Mike Boehm, Los Angeles Times
December 7, 2010

To look at her — 71/2 feet tall atop her earthquake-resistant pedestal, her face serene, her limestone robes rippling in an unfelt wind — is not just to appreciate a pinnacle of ancient Greek statuary, but to experience a semblance of how divinity must have felt to awestruck pagans.

And now the great goddess, once described as “the greatest piece of classical sculpture in … any country outside of Greece and Great Britain,” not to mention the most costly antiquity the J. Paul Getty Trust ever acquired, is about to depart.
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The fallout following the end of Marion True’s trial in Italy continues, with statements from her defence lawyer.

From:
The Art Newspaper

Marion True’s defence lawyer speaks out
As the case ends, True’s innocence is vigorously asserted
By Gareth Harris | Web only – Published online 4 Nov 10

“In the sense of trying to comprehend all that’s happened I am in shock. That it has been five years, with never the possibility of airing the defence—it was a very long time,” Marion True, former antiquities curator of the Getty Museum in Los Angeles, told the New Yorker. Last month in Rome, she saw charges against her of conspiring to receive antiquities that had been illegally excavated and exported from Italy, dismissed. The case was closed after a marathon five-year trial because the statute of limitations had expired.

The trial began on 16 November 2005, following a ten-year investigation into her associations with co-defendants Swiss dealer Robert Hecht and art expert Giacomo Medici. The case was triggered in 1995 when Swiss and Italian authorities raided Medici’s Geneva store and found thousands of photographs and records which they claimed showed illegally excavated antiquities.
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Following the End of Marion True’s trial in Italy, she is now able to speak freely about the case. What is revealed in this interview suggests that the trial was far more of a political exercise than it was one specifically aimed at her. It also suggests that the Getty was quick to distance itself from the whole thing & jumped at the opportunity to write things off as the actions of a single person – an approach that suggests a complete lack of accountability within the Museum in terms of due diligence when acquiring artefacts.

From:
The New Yorker

October 14, 2010
Marion True on her Trial and Ordeal
Posted by Hugh Eakin

On Wednesday morning, in a Roman courtroom, the long-running criminal case against the former Getty Museum curator Marion True was dismissed. In less than ten minutes of deliberation, judges approved a motion by True’s lawyers to stop the proceedings—which, as I described in The New Yorker back in 2007, concerned classical art of allegedly illicit Italian provenance acquired by the Getty Museum in the nineteen-seventies, eighties, and nineties—because the statute of limitations on all charges had expired.

It was a paradoxical end to a trial that has run for more than five years and has been a fulcrum of Italy’s efforts to reclaim major works from leading American collections. Since the trial began, no fewer than five museums—as well as several prominent collectors and dealers—have entered agreements to relinquish prize examples of Greek, Roman, and Etruscan art to Italy. The American Association of Art Museum Directors has adopted strict new guidelines for acquiring antiquities (pdf), and many museums have all but given up on buying classical art.
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The journal of the School of Museum Studies at the University of Leicester, the Museological Review, has chosen to focus their most recent edition on the issues surrounding museums, deaccessioning & restitution.

In the first piece, Clare Blakey writes about some of the restitution demands made by Italy to the Getty Museum & the Metropolitan Museum in the USA.

The second article by Jennifer Jankauskas examines some of the ethical concerns which underpin the issue of deacccessioning in American Art Museums.

Finale, Dietrich Heißenbüttel takes a look at German art from the 1930s & 1940s, arguing for museums to take a different approach to restitution demands.

You can read the entire magazine online here.

Different countries have in recent years used a wide range of techniques to try & secure the return of disputed artefacts. Some of these approaches have had more success than others.

From:
South China Morning Post

Countries go to greater lengths to get looted treasures back
5 Mar 2009
South China Morning Post

China is not the only nation that wants missing relics back and many countries employ different means to retrieve them, write Tim Johnson and Julie Sell

Cambodia, are barely able to halt the plunder of sites like the ancient Angkor temples complex.
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Another review of Sharon Waxman’s new book – this time in the Australian Press.

From:
The Australian

Pillagers called to account
Rosemary Sorensen
January 08, 2009

AFTER Michael Brand took on the directorship of the J. Paul Getty Museum in California and inherited the ugly mess of its acquisitions history, he suggested that being an Australian was an advantage.

“I went in (to negotiate with the Italian government the return of looted artworks the Getty owned) with no background in antiquities, no history at the Getty, a neutral person,” Brand told author and journalist Sharon Waxman last year. “It might even have helped that I was Australian — who knows?” Waxman, in her recently published book Loot, concurs, calling Brand a “blank slate”.
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This interview with Sharon Waxman indicates that the Getty’s reaction to her recent book on looted artefacts has not been particularly positive, due to her coverage of some of the institution’s practises.

From:
Boston Globe

Sharon Waxman: On the trail of ‘Loot’
Posted by David Beard, Boston.com Staff December 2, 2008 07:22 AM

Sharon Waxman, a former Washington Post and New York Times culture reporter, appears in Cambridge on Wednesday to speak about “Loot” (Times Books), her account of the US and European plunder of Third World antiquities — and the return home for some of the art. She spoke from her home in Los Angeles.

Q: Your last book, “Rebels on the Backlot,” was about six Hollywood bad boy film directors of the 1990s. Could “Loot” be any more different?
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Sharon Waxman’s new book looks at both sides of the arguments over looted artefacts held in museums. Museums come up with increasingly tenuous arguments to justify their positions – but public mood is shifting in favour of making sensible agreements to repatriate artefacts with source nations.

From:
Los Angeles Times

BOOK REVIEW
‘Loot: The Battle Over the Stolen Treasures of the Ancient World’ by Sharon Waxman
As museums battle nations of artifacts’ origin, the author weighs both sides in a sane manner.
By Wendy Smith
November 25, 2008

Journalist Sharon Waxman’s “Loot,” a cogent survey of the conflict over classical antiquities, is notable for its common sense, a rare quality in a debate generally characterized by high-pitched rhetoric. As Italy, Greece, Egypt and Turkey attempt to reclaim ancient artworks, their government officials depict Western museums as predatory institutions working hand-in-glove with tomb robbers, crooked dealers and shady collectors to strip vulnerable nations of their patrimony. In response, the beleaguered directors and curators of the Louvre, the British Museum, the Metropolitan Museum and the J. Paul Getty Museum proclaim that they are repositories of universal culture, the places best qualified to conserve masterpieces that, if returned to their countries of origin, would languish in institutions that no one visits.
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