Many photos have appeared in recent months showing the extent of looting and vandalism by ISIS in Syria and Northern Iraq.

Attempts are now being made to prevent this, which is a great step forward.

Many reports however also claim that the looting is the terrorist organisation’s second largest revenue stream after oil, although this link is as yet completely unproven and most likely incorrect, as proved by Jason Felch’s article here.

Archaeologists Rene Teijgeler and Isber Sabrinelooking for looted antiquities at a market in Gaziantep, Turkey

From:
Wall Street Journal

Culture Brigade
Syrian ‘Monuments Men’ Race to Protect Antiquities as Looting Bankrolls Terror
By Joe Parkinson, Ayla Albayrak and Duncan Mavin

TURKEY-SYRIA BORDER—In a hotel basement on the Turkish side of this combat-scarred frontier, a group of unlikely warriors is training to fight on a little-known front of Syria’s civil war: the battle for the country’s cultural heritage.

The recruits aren’t grizzled fighters but graying academics, more at home on an archaeological dig than a battlefield. For months, they have journeyed across war-torn regions of Syria, braving shelling, smugglers and the jihadists of Islamic State. Their mission: to save ancient artifacts and imperiled archaeological sites from profiteers, desperate civilians and fundamentalists who have plundered Syria’s rich artistic heritage to fund their war effort.
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A bequest to a small Swiss Museum by the son of one of Hitler’s main art dealers could open the way to restitution for more than 1000 items.

Franz Marc’s ‘Pferde in Landschaft’ forms part of the Gurlitt bequest

From:
Wall Street Journal

Swiss Museum Close to Accepting Nazi-Era Art Bequest
Kunstmuseum Bern to Make Final Decision on Gurlitt Bequest in Days; Looted Pieces to Be Returned
Mary M. Lane
Nov. 19, 2014 7:34 p.m. ET

BERN, Switzerland—A small art museum in the Swiss capital is preparing to take possession of more than 1,000 artworks bequeathed to it by the son of one of Hitler’s main art dealers, unshackling Germany from an embarrassing burden that has weighed on it for a year.

Barring any last-minute legal objections, the Kunstmuseum Bern is expected to decide as early as Saturday to accept the estate of the late Cornelius Gurlitt, according to three people familiar with the museum board’s discussions.
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More coverage of the recent visit to Athens by a team of three lawyers from the UK to discuss options for the reunification of the Parthenon Marbles.

Amal Clooney nee Alamudin is shown around the New Acropolis Museum by Professor Pandermalis

From:
Greek Reporter

Alamuddin-Clooney Concludes Greece Visit on Positive Note
by Philip Chrysopoulos – Oct 16, 2014

This afternoon, Amal Alamuddin-Clooney leaves Greece following a three-day visit to Athens in which she counseled the Greek government on the proper legal route for reclaiming the Parthenon Marbles from the British Museum.

The 36-year-old lawyer – along with cultural heritage lawyers Norman Palmer and Geoffrey Robertson, as well as David Hill, chairman of the International Association for the Reunification of the Parthenon Marbles – met with Prime Minister Antonis Samaras and Minister of Culture Kostas Tasoulas to discuss the repatriation of the Marbles, an issue of long-standing discord between the Greek and British governments. According to witnesses, discussions between the legal team and the Greek government ended on an optimistic note.
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Further coverage of the decision taken by the Metropolitan Museum in New York to return nineteen artefacts to Egypt. The items were all originally located in the tomb of Tutankhamen. Return of two of the artefacts & acknowledgment of Egypt’s ownership of them was first mooted prior to the World War Two.

From:
Wall Street Journal

Egypt Hunts Ancient Artifacts
New York’s Metropolitan Museum Says It Will Give Back 19 Items as Archaeologist Lobbies for Returns
By ASHRAF KHALIL

CAIRO—Zahi Hawass, Egypt’s larger-than-life antiquities chief, is hunting for treasures from some of the richest known troves—the world’s prominent museums.

In an increasingly public campaign, Dr. Hawass is lobbying international museums to return some of Egypt’s most important archaeological artifacts. These include the Rosetta Stone, displayed for more than 200 years in the British Museum, and the Zodiac of Dendera, housed in the Louvre in Paris.
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A recurrent theme with disputed artefacts is that they end up becoming popularly known for the dispute that surrounds them rather than for what they are in their own right – that is to say that they are famous for being famous. Few would dispute that the Parthenon Marbles are far more widely discussed now than if they had remained on the Parthenon – however, this should not be confused with the claims of the British Museum & others that their acquisition popularised them. They are not well know because they are in a well known museum (the British Museum has vast amounts of artefacts that few people have heard of) but are well known because of the controversy surrounding their ownership, or other similar issues that raise them to prominence. This can manifest itself in many other ways – the Mona Lisa for instance became more famous after it was stolen, as did Evard Munch’s The Scream.

Cases such as this often make it hard to stand back & see the works for their own intrinsic artistic value, as this is overshadowed by the controversy around them – they are however two largely separate strands that combine (with others) to form the sculptures as we perceive them today. Either of these strands could be removed, but would not stand alone in the same way if it was. Far from being an excuse for the actions of people such as the Seventh Earl of Elgin however, this should be seen perhaps more as an incitement to appreciate art for what it is, rather than merely noticing it because of its fame.

From:
Wall Street Journal

JULY 27, 2010
What Is Lost When Works are Trophies
By TOM L. FREUDENHEIM

It’s interesting to contemplate how works of art, which museums generally want us to appreciate for their aesthetic values, can turn into trophies: emblems of issues or events that have nothing to do with their status as art.

Take Egon Schiele’s “Portrait of Wally” (1912), which goes on view at the Museum of Jewish Heritage in Lower Manhattan for three weeks starting Thursday, following an out-of-court settlement of the dispute over its ownership. In 1998 it had been seized by then-Manhattan District Attorney Robert Morgenthau from a Schiele exhibition at the Museum of Modern Art, to which it had been lent by Vienna’s Leopold Museum. Mr. Morgenthau was acting on behalf of the estate of Lea Bondi Jaray. The heirs of the original owner held that the painting had been stolen from her by the Nazis and therefore did not belong to the Leopold Museum. “Portrait of Wally” may not be Schiele’s most important painting, but the legal case has certainly turned it into his most famous one.
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The New Acropolis Museum is not just a museum housing finds from the Athenian Acropolis. Beneath the raised structure of the building, is another exhibit – the archaeological remains discovered on the site during construction & now displayed in-situ.

From:
Wall Street Journal

EUROPE NEWS – JUNE 30, 2009
At the Foot of the Acropolis
By CHRISTINE PIROVOLAKIS
Athens

What could present more of a challenge than designing a major new building to stand at the foot of the Acropolis, revered as one of the great architectural achievements of Western civilization? That new structure is the €130 million ($182.9 million) Acropolis Museum, which, after more than 30 years in the making, finally opened to the public on June 20. Braving the blazing sun and heat, crowds by the thousands thronged its gates eager to be among the first to explore the museum’s vast collection of sculptures and artifacts from ancient Greece.

Efforts to create the museum began as far back as the 1970s. The last attempt, launched in 2003 under the Swiss-born architect Bernard Tschumi’s leadership, was dogged by years of delays caused by archaeologists and local residents. At first there was public resistance to the design of the museum — whose three-level glass and steel structure was deemed far too modern to complement the classical style of the ancient temple. More delays were caused by the difficulties of transporting delicate exhibits from the old museum atop the Acropolis to the new one below. Now visitors enter the new building by climbing a ramp that faintly echoes the slope up to the Acropolis.
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