It does not only apply to the artistic booty of the Third Reich; there are countless cases of illicitly traded cultural goods.
Regardless of what kinds of collections museums hold and care for, many include tainted artefacts, objects, or works of art, creating a dilemma. Often, rightful owners cannot be found or may have deceased, records can be inadequate or have been lost or destroyed, and other instances involve slow, painstaking negotiations, as repatriations can be complex and highly political.
It is paramount having a transparent process underpinned by a relevant policy, clear communication with the involved stakeholders and media, as well as understanding the financial, legal, and practical ramifications of such endeavours.
There are several agencies providing information and guidance, such as UNESCO: The convention on the Means of Prohibiting and Preventing the Illicit Import, Export, and Transfer of Ownership of Cultural Property, the Collection Trust: The Cultural Object Act 2003, the Art Loss Register, the world largest private database of stolen art and antiquities, and Art Recovery International, an organisation, specialising in the location and recovery of stolen and looted works of art.
Successful returns of heritage and cultural property have taken place with the Manchester University Museum, Sheffield Museums, Tate, and others. These undertakings help rebuild relationships with countries, individuals and families, along with marginalised and Indigenous communities.
Image:
AI generated 2023.
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