Trafficking of Iranian Art and Artifacts

Introduction

Trafficking of Iranian art and artifacts has been prominent in the international art trade since the 19th century, and to a certain degree, it continues today. Its origins are in the looting and ultimate destruction of ancient Persian archaeological sites and modern Iranian buildings by early Western travelers and archaeologists. Today, the Iranian government makes it a priority to protect the remaining cultural heritage sites and try to find the artifacts taken from them during periods of conflict. However, there are conflicting points of view about whether or not museums should return artifacts, and how to make sure an item being bought was not taken in a disrespectful manner, thus drastically complicating the situation.

History of Plundering

“The Plundering of the Past: Its Affect on Iranian Archaeology.” Milwaukee Public Museum, 2019. Retrieved from https://www.mpm.edu/index.php/research-collections/history/online-collections-research/iranian-ceramics/archaeology.

This website page describes the history of European archaeological expeditions to Iran that resulted in the removal of an unprecedented amount of artifacts from the country. Countries such as Germany, Britain, France, and even America were frequently visiting Iran for research on ancient civilization sites. Starting in the 20th century, with Iran and the rest of the world dealing with conflict and war, their archaeological sites began to be looted on a large scale—damaging important cultural sites and access to Iranian history. However, there are now laws and penalties in place for those who abuse Iranian historical sites and their protection is a national government priority.

Masuya, Tomoko. (2000). Persian Tiles on European Walls: Collecting Ilkhanid Tiles in Nineteenth-Century Europe. Ars Orientalis, 30, 39-54. Retrieved from https://www.jstor.org/stable/4434261?seq=1.

This scholarly article describes two phases of Persian tile removal from Iranian buildings by two French men, Jean-Baptiste Nicolas and Jules Richard, in the 19th century. In the later half of the 1800’s, more people were coming to Iran to appreciate its famous artwork; unfortunately, this heightened travel also brought with it lootings. There were removals that were done properly, meaning that they were arranged beforehand to be given to a museum in Kensington, Britain. However, it was more common for travelers to just scrap tiles off of buildings themselves, and then sell them to traders at home and around the world. Today there are tiles in Islamic art collections all over the world, but little is known about where they came from, who took them, and how. Buildings in Iran, especially in cities like Qom, Damghan, and Kashan, are still missing pieces of their original architecture.

Majd, Mohammad Gholi. (2003). The Great American Plunder of Persia's Antiquities, 1925-1941. University Press of America.

This book was written by a historian who specializes in the modern history of Iran, Dr. Majd, who focuses on American and British manipulation of a declining Iranian regime to gain access to cultural sites. Using declassified U.S. State Department documents, he shows the process of American diplomats pressuring desperate Iranian officials to agree to an antiquities law that did little to benefit the Iranian populace. This pressure worked, and resulted in the Oriental Institute of the University of Chicago having access to the ancient ruins of Persepolis and the artifacts there. This looting also included Iranian mosques and shrines, sending stolen artifacts not only to the Oriental Institute but also museums in New York City, London, and Paris.

Recent Controversy Over Ownership

“Cultural Loot: Harvard and others should be more open to art repatriation.” The Harvard Crimson, 27 September 2011. Retrieved from https://www.thecrimson.com/article/2011/9/27/artifacts-many-museums-western/.

This editorial argues that artifacts and other pieces of art formerly belonging to countries like Iran, should ultimately be returned. This opinion case followed a lawsuit filed against Harvard on behalf of terror-attack survivors. The group felt they were entitled to compensation from the Iranian government, and since that government was not going to offer them compensation, they were entitled to artifacts from Iranian culture currently on display in US museums. Ultimately, they lost this lawsuit, but the writers of this article fear this will also contribute to the entitlement museums have to these objects over the countries they really belong to. The authors present a detailed, well thought perspective for art repatriation.

Katz, Brigit. "Stolen Collection of Persian Poetry Found With Help of ‘Indiana Jones of the Art World’ Goes on Auction." Smithsonian Magazine, 10 March 2020. Retrieved from https://www.smithsonianmag.com/smart-news/sale-rare-collection-persian-poetry-dramatic-backstory-180974391/.

This magazine article gives details on the disappearance of an Iranian collection of Hafez poetry, known formally as a “Divan,” dating back to 1462. The collection was stolen from a German Islamic art collector and was not discovered to be missing until after he passed away. Arthur Brand, a famous art investigator, eventually found the collection in the hands of a responsible collector who had no idea what he had purchased was stolen in the first place. This article shows the complexity of the art theft and trafficking market, as well as the long term effects of Iranian art being looted and resold into seclusion.

Black, Ian and Kamali Dehghan. “Iran Lays Claim to British Museum's Cyrus Cylinder.” The Guardian, 15 September 2010. Retrieved from https://www.theguardian.com/world/2010/sep/15/iran-cyrus-cylinderbritish-museum.

This news article describes the ownership debate of a Persian artifact between the British Museum and the country of Iran. The artifact is a 2,500 year old clay cylinder covered with inscriptions praising Persian King Cyrus made after he conquered Babylon. The British Museum has claimed that they excavated this artifact ethically from Babylon, Iraq in 1879, but the real ownership of this relic remains in question. Moreover, Cyrus is a very important figure in Persian and now Iranian culture, so the British Museum has in the past loaned the object to the Iranian government to be displayed, but refuses to pass its ownership to Iran permanently. Ultimately, the debate over ownership ignites during this time, because many Iranians feel the object is rightfully theirs and should not be returned to the British.

Herman, Alexander and Holly Woodhouse. “New York seizure of a “Recovered” Persian Artefact.” British Institute of Art and Law, 28 November 2017. Retrieved from https://ial.uk.com/new-york-seizure-of-a-recovered-persian-artefact/.

This website page details the events that led up to the Manhattan District Attorney’s Office seizing a Persian artifact being sold at a European Art Fair in October of 2011. The artifact was an ancient Achaemenid Persian bas-relief said to have been from Persepolis, the former capital of the Persian empire and now a UNESCO World Heritage Site. The Attorney’s Office intervened because government officials in Tehran claimed this artifact was unjustly taken from them in the 1930’s, contrary to what the art dealers were sharing at the art fair. Furthermore, the artifact would have been sold for 1.2 million U.S. dollars had the Attorney’s Office not intervened.

“Iran Says It Has Traced Two Ancient Sculptures Stolen Decades Ago.” Radio Farda - Iran News, 31 January 2019. Retrieved from https://en.radiofarda.com/a/iran-says-sculptures-stolen-decades-ago-have-been-found/29742565.html.

This news article explains the Iranian government’s perspective of the bas-relief situation mentioned in the above article. Tehran officials have been funding operations to trace stolen artifacts like this one and see this situation as a victory. In 2018, the New York Supreme Court ruled that the artifact should be returned to Iran on the grounds that it's excavation in the 1930’s did constitute fit the definition of looting. In September of 2018, Iranian President Hassan Rouhani accepted the returned artifact at a UN conference and took it home. With the artifact now on display in Iran, this situation is a good example of Western nations returning artifacts to their rightful countries.

Additional Resources

Wamsley, Laurel. “Trump Says He'll Target Iran's Cultural Sites. That's Illegal.” National Public Radio, 6 Jan 2020. Retrieved from https://www.npr.org/2020/01/06/794006073/trump-says-hell-target-iran-s-cultural-sites-that-s-illegal.

This news article examines the malice behind American President Trump’s threats to destroy cultural heritage sites, which can increase the likelihood or their looting and the survival of Iranian culture.

Amineddoleh, Leila. “ How Technology Is Tracking Stolen Artifacts.” U.S. News and World Report, 27 May 2019. Retrieved from https://www.usnews.com/news/best-countries/articles/2019-05-27/how-technology-is-tracking-stolen-artifacts.

The above article details the reasoning behind governments’ purposely destroying or removing cultural artifacts, and explains how modern technology, like instagram and other photo sharing apps have helped stop the trafficking of looted art and artifacts.

Header Image: https://www.tehrantimes.com/news/419548/British-Museum-considers-holding-exhibit-in-Tehran.