The Manhattan district attorney’s office said the headless bronze, valued at $20 million, is a depiction of the Roman emperor and was looted from Turkey.
Tag: Arts and Antiquities Looting
Scottish Museum Will Return Totem Pole to Nisga’a Nation in Canada
The 36-foot tall memorial pole has spent almost a century in a Scottish museum. Now it will be returned to the Nisga’a Nation in Canada.
How 4 Countries Are Preparing to Bring Stolen Treasures Home
While attention is focused on western museums and governments giving back looted items, heritage workers in the global south are laying the groundwork for new claims.
After Ukraine’s Kakhovka Dam Disaster, a Hunt for Ancient Treasures
After the Kakhovka dam was blown up in June, the reservoir above it quickly drained, revealing a bonanza of artifacts that has electrified Ukrainian archaeologists.
Australia Will Return Looted Sculptures to Cambodia
A centuries-old Buddhist sculpture was taken from a rural area in Cambodia nearly 30 years ago. It was later sold with two other statues to the National Gallery of Australia.
Richard Barancik, Last of the World War II Monuments Men, Dies at 98
He played a role in the celebrated Allied operation to preserve European artworks and cultural treasures stolen by the Nazis.
Artifacts Stolen From Kenya Decades Ago Are Returned
Even after museums decide to return stolen artifacts to their countries of origin, tariffs and red tape can prolong the process.
Sudan War Strikes a Blow to the Country’s Emerging Art Scene
Dozens of Sudanese artists and curators have fled their studios and galleries in the capital, jeopardizing thousands of artworks and imperiling an art scene central to the 2019 revolution.
How a Terra-Cotta Warrior Lost Its Thumb to a Delaware Shoe Salesman
Michael Rohana stole the clay digit six years ago at a Philadelphia museum where he had been attending an ugly-sweater party. He pleaded guilty this week.
When a Visit to the Museum Becomes an Ethical Dilemma
Western museums are major tourist attractions, drawing travelers from around the world. But what responsibility do we bear as spectators for patronizing institutions that display what critics say are stolen works?