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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International laws such as Unidrois convention that deal with cases of disputed cultural property (Through their adoption by UNESCO) are seen by many as a good thing – although clearly not by all, as many countries have yet to subscribe to these conventions. The conventions do not act retrospectively however – so there is a strong argument that they have created a division in the market – between those artefacts acquired before the convention came into force & those acquired afterwards. Many collectors fear that these conventions are devaluing their collections – but this point is counterbalanced byt the fact that is the artefact was acquired legitimately & has good provenance (which is the only real way of proving that it was acquired legitimately) then there should not be any problems.

From:
New York Times

Auctions
Wanted: Antiquities Beyond Reproach
By SOUREN MELIKIAN
Published: December 17, 2010

NEW YORK — The impact of the Unidroit convention, adopted by Unesco when endeavoring to protect the artistic heritage of mankind, starting with its archaeological treasures, is beginning to make itself as never before, although not quite in the way that its promoters expected.

By all accounts, the terrifying destruction of archaeological sites goes on, from Syria to Afghanistan to Nepal. But on the auction scene the consequence of Unidroit, to which only a few countries subscribe, is that some collectors live in fear that their favorite game, buying the relics of antiquity, may soon end. Many suspect that objects that cannot be proved to have been acquired before 1970 — the cutoff date set by the Unidroit convention — will become financially worthless or exceedingly difficult to negotiate.
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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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Italy is demanding the return of an ancient Greek helmet that it believes was looted from an archaeological site in 1993. They are following their approach taken in many successful recent cases, by following up their requests with legal action.

From:
Earthtimes

Italy pursues ‘stolen’ early Greek helmet in German court
Posted : Wed, 08 Dec 2010 10:47:53 GMT

Berlin – The Italian government is going to court in Berlin this week to claim an early Greek metal helmet, which it claims was stolen from an archaeological site in Italy in 1993, a court spokesman said Wednesday.

Greek-speaking trading cities existed on southern Italy’s coasts in the 7th to 6th century BC when the helmet, distinctive for its geometric style of decoration with zigzags and concentric circles, was made.
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The Met has been hitting the headlines fairly regularly with news of positive decisions on restitution cases. The latest artefact return involving the New York museum is the Morgantina Silver, following an agreement reached in 2006 allowing them joint custody of it with the Aidone Archaeological Museum.

From:
New York Times

A Trove of Ancient Silver Said to Be Stolen Returns to Its Home in Sicily
By ELISABETTA POVOLEDO
Published: December 5, 2010

AIDONE, Italy — They came in throngs. On Friday afternoon hundreds of residents from this tiny hilltop town in eastern Sicily excitedly trekked up the steep slope to the town’s archaeology museum to celebrate the return to Aidone of a treasure trove that was buried nearby some 2,200 years ago and illegally whisked away in more recent times.

This year this cache of 16 Hellenistic silver-gilt objects known as the Morgantina silver was on view at the Metropolitan Museum of Art in New York. For decades archaeologists, magistrates and eventually the Italian government had attempted to convince the museum that the pieces had been illegally excavated 30 years ago from Morgantina, an ancient Greek settlement whose ruins lie next to Aidone.
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More coverage of the statue located by chance in a New York gallery thirty years after being stolen from a museum in Rome.

From:
New York Post

Roamin’ cop nabs hot art
Italian sleuth spots statue in NYC gallery
By CLEMENTE LISI
Last Updated: 7:36 AM, November 20, 2010

An eagle-eyed Italian cop was hailed as a hero yesterday for spotting a precious stolen statue in a Manhattan art gallery — leading to the miraculous homecoming of that artifact and another filched sculpture.

The items, stolen in Italy in the 1980s and worth about $680,000 apiece, were unveiled in a small museum outside Rome, thanks to the police art-squad expert who was on vacation when he saw one of them during a stroll up Madison Avenue.
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An Italian policeman on holiday in New York spotted a statue stolen from a museum in Rome in 1980.

From:
Agence France Presse

Italian policeman in New York finds stolen statue
(AFP) – Nov 19, 2010

ROME — The return from the United States of a precious Roman artefact stolen from an Italy museum is thanks to an Italian policeman who strolled through New York on holiday this year, officials said on Friday.

Walking down Madison Avenue, the officer from Italy’s cultural heritage police noticed the marble torso on sale for 350,000 dollars (256,000 euros) in a gallery’s display, they said.
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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 long running trial of former Getty Curator Marion True has continued on & off for a number of years. It has now come to an end – not because any verdict has been reached, but because of the statute of limitations on the laws under which she was being tried brought an automatic end to the proceedings.

So, we are none the wiser about whether or not the trial would have been successful for Italy in securing a conviction (or securing the return of artefacts). Now that the legal action is over & people are able to speak more freely though, hopefully more details of the case will be revealed.

From:
New York Times

Rome Trial of Ex-Getty Curator Ends
By ELISABETTA POVOLEDO
Published: October 13, 2010

ROME — The case against Marion True, the former curator of antiquities at the J.Paul Getty Museum, ended abruptly on Wednesday, after a court here ruled that the statute of limitations on her alleged crimes — receiving artifacts stolen from Italy and conspiring to deal in them — had expired.

The trial had dragged on intermittently for five years. Numerous witnesses testified for the prosecution, which argued that Ms. True knowingly bought ancient artifacts of dubious provenance for the collection of the Getty Museum in Los Angeles. The trial was widely believed to be the first instance of a museum curator facing criminal charges for such alleged crimes.
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At first I thought I was reading an older story – but it appears that there is another auction of artefacts that are now suspected to have been through the warehouses of Giacomo Medici.

From:
The Art Newspaper

Medici “loot” for sale?
Two works coming to auction with Bonhams appear similar to those pictured in Polaroids found in the convicted dealer’s Geneva store
By Fabio Isman and Melanie Gerlis | From issue 217, October 2010
Published online 5 Oct 10 (market)

Bonhams London is to auction two antiquities that may have passed through the hands of the dealer Giacomo Medici, who has twice been found guilty of trafficking in antiquities in Italy, but is free as he mounts his third and final appeal. As we went to press, the auction house had not withdrawn the lots because the necessary information on the items had not been released, despite Bonhams’ repeated requests to the Italian authorities, they say.

Pictures in the Bonhams catalogue of the two works coming to auction on 6 October appear similar to Polaroids found in Medici’s Geneva store, which were seized in 1995 and presented as evidence during his trials, although these particular objects were never examined in court. This means that the objects have not been studied to establish their origins and whether or not they were illegally excavated or exported and may be legitimate.
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As was speculated at the time of the law being passed, the Benevento Missal will be the first item to be officially returned under the Holocaust (Stolen Art) Restitution Act.

The points made originally about this particular return in relation to the law that allows it still stand. There is no evidence that the Missal was looted by the Nazis, or had any connection to the Holocaust. The law however allows its return, because of the time period in which it was removed from Italy. This highlights the piecemeal legislation implemented (when it is politically advantageous to do so) opening up holes in the anti-deaccessioning rules that govern the UK’s largest museums. The Human Tissue act before it opened up similar holes. The fact that holes need to be opened up for so-called special cases highlights the need for a full review of the legislation to cover all artefacts in museums in the UK, that they can be returned from collections when necessary.

From:
BBC News

15 September 2010 Last updated at 16:55
British Library returns manuscript looted during WWII

A 12th Century manuscript which was housed in the British Library is to be returned to Italy because it was looted during World War II.

The 290-page Beneventan Missal was taken from the Metropolitan Chapter of the Cathedral City of Benevento, Naples, in 1943.
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