Antiquities are the art and objects of ancient civilizations. This broad category covers Western antiquity from the dawn of civilization to the Medieval Period.
It is important to work with a reputable dealer who guarantees authenticity. Reputable dealers belong to trade associations and often work closely with museums. They conduct due diligence – a system of checks to ensure that an object is not faked, looted or stolen. Visit https://www.gognasrl.it/antiquariato/acquistiamo-in-tutta-italia/stime-perizie-valutazioni-antiquariato-antichita-a-roma-lazio/ to learn more.
The art and antiques trade plays a crucial role in preserving heritage, facilitating artistic innovation, and enriching lives. The trade provides a safe route for cultural goods to be transferred from one owner to another. It also helps to preserve the physical condition of artworks and antiquities, while encouraging scholarly research. However, the global nature of the art market and its ability to maintain anonymity can make it attractive to criminals for money laundering purposes. Regulatory bodies and governments are increasingly recognizing the need to address these risks. They are implementing stricter regulations, imposing obligations on market participants, and enhancing due diligence measures to help mitigate the risk of illicit activities.
One way criminals use art and antiques to launder money is by manipulating auction processes. They may collude with auction houses or buyers to artificially inflate or deflate prices (art auction money laundering). They can then move the funds through legitimate channels.
Another way criminals use art and antiques to hide illicit wealth is by transferring ownership to offshore entities or family members. This allows them to avoid a tax burden while still receiving the benefit of owning valuable objects.
Whether they are selling at auction or privately, dealers must ensure that their business is compliant with anti-money laundering and countering the financing of terrorism (AML/CFT) laws. They must conduct thorough customer due diligence, including verifying identities and understanding the purpose of each transaction. They should also keep up to date with AML/CFT best practices and regulatory guidance. By doing so, they can reduce the potential impact of their business on the global art market and improve their detection and prevention capabilities.
Authenticity
Authenticity is the quality of something that is genuine, not counterfeit or tampered with. For example, a ring that claims to be one worn by Marie Antoinette is considered authentic if it is the real thing. Likewise, a piece of art is said to be authentic if it was created by the artist or his legal successor.
The concept of authenticity has its roots in both philosophical and literary sources. Philosophers have used the idea to describe a moral virtue characterized by living according to commitments that one wholeheartedly endorses. However, it has also been viewed as an ideal for a way of life that can only be pursued in a free society.
In archival science, authenticity refers to the ability of documents to bear reliable testimony about their own history and origins. It also involves the ability to distinguish between a document that has been altered or doctored, and an authentic copy of the original document. Similarly, in the field of archaeology, an object can be declared to be authentic if it was discovered in the place and at the time that it claims to have been found.
In the context of World Heritage properties, the term authenticity is defined in paragraph 82 of the Operational Guidelines as “the extent to which attributes and cultural values are truthfully expressed in the property and its presentation” (see definition below). It is important that a heritage site be considered authentic for the purposes of World Heritage nomination and assessment, as this will help to ensure that it meets the criteria for Outstanding Universal Value. The authenticity of cultural heritage is a complex concept with many facets that are not easily resolved or agreed upon.
Provenance Research
Provenance research shines a spotlight on how museum objects were collected and acquired, sometimes along circuitous paths, and how their histories have been recorded. It also uncovers lost or forgotten stories, including those shaped by violence.
While the public has long been aware of how museums acquire their collections, recent high-profile restitution cases have increased awareness of this issue, and museums are taking provenance more seriously than ever before. Provenance work helps museums meet legal and ethical standards, and it can also reveal new insights about the art they hold.
A variety of resources are available for researching the ownership history of works of art, including books and specialized databases. The Getty Provenance Index Databases, part of the Project for the Study of Collecting and Provenance, contain indexed transcriptions of auction catalogs and archival inventories for Western European works of art from the late 16th century through the early 20th century. The Clark Library maintains a collection of these databases, and you can access them online.
In addition, the Harn is continuing to research the ownership history of its collections for works of art that were created before 1946 and that might have changed hands in Continental Europe during the Nazi era, consistent with guidelines issued by the American Association of Museums (AAM) and the Association of Art Museum Directors (AAMD). You can search these databases through the library catalog using an artist name or a work title.
In the museum, staff members working on provenance research include senior research associate Meadhbh Ginnane, who focuses on the art of Southeast Asia, and postdoctoral fellow Nicolas Revire, who studies the art and culture of Thailand. Both of these researchers collaborate with the museum’s 11 curatorial departments.
Preserving Cultural Heritage
When people think of cultural heritage, they often picture art, paintings, drawings, and prints, historical buildings and monuments, and archaeological sites. However, the concept of cultural heritage has progressively expanded to include not only tangible items but also intangible elements of culture like traditions, performing arts, customs, and social practices that make up an entire community’s identity.
These aspects of cultural heritage are often referred to as “living heritage” because they can only be preserved if the individuals who experience and enjoy them will continue to pass them on to future generations. Moreover, they need to be valued and respected in order for them to be protected from damage or loss.
For this reason, preserving living heritage is essential to the survival of global culture. UNESCO plays a pivotal role in protecting cultural heritage by designating World Heritage Sites that highlight areas of outstanding universal value, and by fostering international collaboration and awareness about the importance of safeguarding these unique places.
In the antiques and art trade, the ADA Code requires that dealers “make all reasonable enquiries as to the earlier ownership histories of the objects they offer for sale.” This helps to ensure that antiquities are not sold illicitly and that museums and dealers have the necessary evidence in case of any legal challenges. However, banning the trade in art and antiquities without documented provenance would do more harm than good by making it easier for unscrupulous dealers to exploit the market and contribute to the illicit trafficking of artifacts.
In addition to supporting archaeological field conservation and encouraging ethical collecting, NYAC is committed to the preservation of living heritage through educational programming and experiences that celebrate the diversity of our shared cultural history. These efforts will help preserve these irreplaceable artifacts for future generations, ensuring that the legacy of civilizations past is not lost.
Supporting Archaeological Field Conservation
Archaeological excavations often produce hundreds of objects, including fragments that will ultimately be cleaned and stored before entering museum collections. These archaeological collections may also include environmental samples (soil or pollen) and a host of documentation, from field notes to photographs and analysis results.
The care of archaeological collections often begins in the field and continues for decades or even centuries, well after the objects have left the excavation site. To prevent damage to these precious materials, it is essential to incorporate conservation into the planning phases of archaeological exploration, and not wait until after excavation has taken place.
Conservation in archaeological contexts involves a wide range of techniques, from reburial and consolidation to creating protective shelters and stabilising structures. It is not always possible to prevent deterioration, but conservators are often able to reduce its impact and speed up the process.
A particular challenge is the protection of archaeological sites from environmental factors that can harm both the artifacts and the geological environment in which they are embedded. One example of this issue is rock stability, which can be a significant safety risk for archaeological fieldwork in cave environments. Developing standardised protocols that address these issues would significantly improve both the safe exploration of these sites and the preservation of cultural heritage.
The American Institute for Conservation (AIC) is a professional membership organisation supporting conservation and allied professionals, with a broad range of committees, networks and specialty groups, including the Archaeological Discussion Group. The ADG brings together conservation and archaeology to promote communication between these disciplines, support collaborative projects and provide ongoing professional development opportunities. Find out more here. – The authors thank the ADG for their assistance and feedback.
