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Illegal excavation… the basis of illicit trafficking


In countries with long and uninterrupted habitation, archaeological treasures are found buried in the ground or scattered on the seabed (in shipwrecks or in areas that have now been submerged).
In these countries illegal excavations constitute the commonest way to retrieve cultural goods; the finds are then traded secretly and illegally, ending in the international markets of antiquities. Illegal excavations are performed by non-experts who lack knowledge, usually in an obscure manner, hastily and brutally, always resulting in catastrophe: disturbance of the stratification, namely the archaeological context of the object(s), detachment from space and time, distortion, alteration or even loss of historic evidence. Hence, the thread that connects us with the past is permanently lost…


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The Aidonia “Treasure”


In 1993, at an auction in New York, appeared a total of 312 works of minor arts, valuable prehistoric pieces of jewellery and seals dating back to the 15th century BC. The works, as the Greek archaeologists proved, came from looted Mycenaean tombs at the site Aidonia in Nemea (Corinthia) —the tombs had been plundered in the 1970s, before 1978, a time at which the systematic excavation of the site was launched. Eventually, the case did not reach trial —in 1996 the auction house handed over the artefacts to the Greek State.


The “treasure” is now on display at the Archaeological Museum of Nemea.
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Bronze statue of an athlete


Bronze statue of an athlete dating from the Roman period (1st c. BC–1st c. AD). The underwater antiquity from Preveza (North-western Greece) that was illegally exported was spotted in 1998 at Saarbrücken, Germany. It was repatriated together with 437 works and is now exhibited at the National Archaeological Museum in Athens.
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Icon with the Crucifixion from Monemvasia


The icon with the representation of the Crucifixion (14th c.), of high artistic value, was stolen in 1979 from the Church of Christ Elkomenos (in Chains) at Monemvasia in Laconia and was cut into pieces to facilitate its transfer. It was retrieved in 1980. It received exemplary conservation treatment in the laboratories of the Byzantine and Christian Museum in Athens where it was put on show, whereas since 2011 it is kept in a specially arranged space in the chapel of Saint John of the Church of Christ Elkomenos at Monemvasia.
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The Euphronios krater


In 1972 a well-known American antiquities trader sold to the Metropolitan Museum of Art in New York an intact red-figure krater of great artistic significance, work by Euphronios (520-510 BC), for $ 1.2 million. The documents that accompanied the artefact were genuine —the antiquities trader had purchased the vase from a Lebanese dealer. Shortly afterwards the Italian authorities discovered that the krater came from an illegally excavated Etruscan tomb at Caere (Cerveteri), Italy. They also found out that it had been fraudulently sold to the Museum using documents that pertained to a second krater by Euphronios, of lesser value, which had been legitimately acquired by the antiquities trader (also from the Lebanese dealer).


The undamaged krater was repatriated in 2008 and is displayed at the Archaeological Museum of Cerveteri.
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Icon depicting the Ascension of Prophet Elijah from Corfu


The multifigure icon of exquisite art dating back to the 17th century, a work by the eminent Cretan icon painter Theodoros Poulakis, was stolen from the Church of Prophet Elijah at Ano Korakiana village in Corfu in 1976 and was cut into pieces in order to be transferred. A few years later it was found and confiscated. It was conserved at the Byzantine and Christian Museum in Athens and constitutes today one of its most spectacular exhibits.
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The ancient cemetery near Thessaloniki


An ancient cemetery in the wider Thessaloniki area was illegally excavated and looted. As a result of the excellent collaboration of archaeologists with police authorities the case was solved —a large number of grave goods of great historical and artistic significance that had been removed from the tombs were confiscated in 2011.
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Icons with Saint John the Baptist and the Hospitality of Abraham from Kozani


The two icons, typical examples of sixteenth-century post-byzantine painting in West Macedonia, works by the icon painter Nikolaos, decorated the wood-carved altar screen of the Church of Saint Nicholas at Velvento in Kozani. They were stolen together with twelve icons of the altar screen in 1980 that were later found by Greek archaeologists in the possession of a Swiss collector. The court ruled in favour of the Greek request for their repossession and the icons were repatriated in 2000.
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Gold blossomed myrtle wreath from Northern Greece


In 1993 the J. Paul Getty Museum in Los Angeles purchased a gold blossomed myrtle wreath (350-300 BC) coming from the illegal excavation of a tomb in Macedonia for $ 1,15 million. Investigation of the Italian criminal prosecution authorities in the Geneva and Basel Freeports between 1995 and 2002 accidentally unveiled among others, irrefutable evidence for its illegal journey.


The work returned to Greece in 2005 and is on display at the Archaeological Museum of Thessaloniki since then.
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Marble head of Hermes


In the late 1980s a marble head of Hermes that formed part of a Hermaic stele of the Roman period was illegally exported from Greece ending in the European market in antiquities by a notorious Italian dealer. Following the confiscation of the relevant documents (letter and photographs) from the archives of the dealer, a thoroughly documented request claim was filed and the work was repatriated and is now displayed at the National Archaeological Museum.
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In times of war


In war zones, monuments, museums and archaeological sites suffer from all sorts of devastation. In the aftermath of war culture dies out: history fades away, art is lost, science is impoverished, as the markets of antiquities are enriched with looted goods.
In the 20th and the 21st century, when prominence was given to the safeguarding of cultural heritage as a global aspiration, antiquities and works of art were stolen, monuments and archaeological sites were devastated, museums were plundered initially throughout Europe during the two World Wars and later across all Continents: Cyprus, Yugoslavia, Syria, Iraq, Afghanistan, Egypt, Mali, Yemen, Cambodia —the Hague Conferences (1899, 1907, 1957), the Protocols (1954, 1999 etc.) and the General Codification of the Laws of War did not do much to avert this situation. Wars ravage culture; the international conventions, which are supposed to protect it, are hardly observed, whereas the motives behind the devastations vary, depending each time on political, social and religious beliefs. The eradication of the historical or religious past of the “other”, and the economic gain, individual or collective, are some of them.
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Cyprus


In 1974 the Turkish invasion of Cyprus was followed by pillage and vandalism at the northern part of the island. The destructions were many and in some cases irreparable: churches are used even nowadays as hotels, stables and military facilities, whereas hundreds of archaeological objects and works of art were stolen from monuments, museums or private collections, many of which appeared in the European markets or at auctions. The Department of Antiquities of Cyprus inspects closely the international market aiming to locate and repatriate Cypriot antiquities and artworks. Major museums across the globe provide support in this difficult mission, whereas foreign archaeological expeditions suspended, as a sign of solidarity, their excavation activities in the occupied territory of Cyprus. In acknowledgement of their support, the Republic of Cyprus, has granted permits for excavation at new sites in the free part of the island.
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Robberies at the museum, the monument, the "site"


Museums, monuments and archaeological sites are the focus of interest for networks of illicit trafficking and trade in antiquities and works of art. The systematic scientific documentation (recording, photographs, measured drawings / plans etc.) of museum artefacts and archaeological sites, not only discourages the aspiring smugglers —a documented work cannot be traded seamlessly on the markets— but also contributes to the recovery of misappropriated objects in case of theft. Concurrently, organized and systematic guarding serves unquestionably as a deterrent.
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Archangel Michael. Monastery of Christ Antiphonitis, Κalogrea, Kyrenia


Archangel Michael. Apse of the Katholikon, Monastery of Christ Antiphonitis, Κalogrea, Kyrenia.


Monastery of Christ Antiphonitis, Κalogrea, Kyrenia.
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Iraq


In 2003, after the American army invaded Iraq, monuments and museums of the country endured vandalism and robberies. The Archaeological Museum of Bagdad from which 15.000 objects were stolen is a characteristic example. One third of the looted artefacts has already been returned —in fact several of them were retrieved and confiscated in markets of antiquities in Jordan, Lebanon, Syria, Saudi Arabia and New York.
Antiquities were also stolen from the Archaeological Museum of Mosul so as to be sold abroad, whereas the archaeological sites of Nineveh, Nimrud and Hatra, glorious cities of the Assyrians and Parthians, were devastated.
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Incised grave stele of Athanias


The inscribed pedimental grave stele that portrays the warrior Athanias, made of black limestone, a work of exquisite art produced in a Boeotian workshop, was found at the J. Paul Getty Museum in California. Having been acquired through illicit trafficking, it was returned to Greece in 2006.
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Mosaics from Lythrankomi, Ammochostos


Mosaics with St. Matthew the Evangelist and Christ.


From the Church of Panagia Kanakaria, Lythrankomi, Ammochostos.
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Afghanistan


The National Museum of Afghanistan in Kabul, experienced tremendous disaster during the civil war that broke out after the prevalence of the Taliban. Nearly 160.000 objects, namely 70% of the artefacts that comprise the Museum collection, were either destroyed or stolen.


A crime against culture is considered also the destruction by the Taliban of the two colossal statues of Buddha at the Bamiyan Valley in March 2001.
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Repatriation: the journey back home


The repatriation of cultural goods that have been illegally exported from a country signifies, on the one hand, their restitution and reintegration into the ensemble/group from which they were removed, and on the other hand, their reinstatement in their natural setting, in the environment in which they were produced. Repatriation cures the disruption caused by violent dissociation and removal.


Countries, based on their National Law, aided by the European and International legislation, can claim cultural goods that have been illegally exported from their territory. The process by which the claim is made, even though it is supported by transnational agreements aiming at the prevention of illicit trafficking of cultural goods, is usually complex and time-consuming. Nevertheless, there are brilliant exceptions, indicative of a relative sensitization that has been taking place progressively: repatriations have been completed within short time and unimpededly when private individuals or entities (Universities and Museums) which ascertained the illegitimate routes of works in their possession, returned them of their own accord.
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Part of a Roman sarcophagus


The top left part of a relief sarcophagus produced by an Attic workshop dating from the Roman Imperial period (2nd c. AD) was recovered in 2017 in a New York art gallery and was confiscated by the New York County District Attorney. A photograph that was found in the archive of a smuggler attested the illicit trafficking of the work resulting in its repatriation to the National Archaeological Museum at Athens.
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Syria


During the civil war that lasts from 2011 to this day the extraordinary monumental heritage of Syria has been seriously damaged —detached, broken artefacts and architectural members were stolen and together with finds unearthed at illegal excavations fuelled illicit trade in antiquities. Concurrently, monuments inscribed by UNESCO as World Heritage Sites, such as the ancient cities of Palmyra and Bosra, the medieval castle Crac des Chevaliers near ancient Emesa (present-day Homs), the Great Mosque of Damascus (Ummayad Mosque) and the historic centre of Aleppo suffered irreversible damages. The prehistoric settlement of Mari, the Hellenistic city of Dura-Europos, but also the early byzantine Monastery of Saint Elian (Mar Elian) shared the same destiny. Finally, countless objects were stolen from the collections of the Museums of Damascus, Aleppo and Hama.
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Dome with a portrait of Christ Pantokrator, Lysi, Ammochostos


Dome with a portrait of Christ Pantokrator.
From the church of Saint Themonianos (Euphemianos), Lysi, Ammochostos.


Church of Saint Themonianos (Euphemianos), Lysi, Ammochostos.
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…resolving an international issue


A key role in the fight against the illicit trafficking of cultural goods play:
• the transnational networks of cooperation between police authorities, museums and other international organizations,
• mechanisms that oversee the implementation of international conventions
• the national and international databases that include comprehensive inventories of cultural goods.


In Greece special emphasis has been placed on the maintenance of the "National Archive of Monuments" in which the movable and immovable monuments (from archaeological sites, private and public collections, museums and organizations) are classified, described and documented. The register, which is maintained also in electronic form, enables the immediate identification and “proclamation of outlawry” in the case of lost or stolen works.


In the event of theft, information about the lost works is sent from the Greek register to Interpol’s database of stolen works of art —the database contains objects officially reported as stolen by the member countries and up until March 2018, 51.000 items had been registered.
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The exhibition "Heaven and Earth" in museums across the USA


In the context of the travelling exhibition "Heaven and Earth. The Art of Byzantium from Greek Collections" that was organized by the Hellenic Ministry of Culture and Sports and the Benaki Museum and was presented successively (2013–2015) in three major American museums (National Gallery of Art, Washington DC, J. Paul Getty Museum, Los Angeles and the Art Institute of Chicago) one more work that had been illicitly trafficked, found its way back home.


It was an illuminated manuscript of the New Testament (12th c.) written on parchment that had been stolen from the Library of the Dionysiou Monastery on Mount Athos in 1960, had formed part of a private collection and eventually was purchased in 1983 by the J. Paul Getty Museum. During the preparation of the exhibition Heaven and Earth scientists of the Hellenic Ministry examined the objects of the American Museums that were going to accompany the Greek exhibits and spotted the stolen manuscript. The J. Paul Getty Museum having already signed a Cooperation Memorandum with the Hellenic Ministry returned the manuscript to the Library of the Dionysiou Monastery in 2014.
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Protecting … history, memory, the past


Major international Organizations and the European Union work actively to ensure that the protection and safeguarding of cultural heritage is governed by international Law.


In addition, each country is responsible, on the one hand, for legislating on the preservation of its national cultural heritage, and on the other, for signing transnational agreements so as to suppress the illicit trade in cultural goods. Cultural diplomacy and the signature of memoranda of cooperation help tackle the phenomenon and recover misappropriated treasures.


Legislation (international and national) is supplemented with codes of ethics that feature rules of proper conduct for those bodies and professionals associated with culture, pertaining to issues related to the enrichment and protection of museum collections, the certification of the authenticity of objects, their research, identification and documentation, their provenance and repatriation in case of illicit trafficking.
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The international legal framework for protection


The mass destructions of monuments that took place during World War II necessitated measures for the systematic protection of cultural heritage.
Among the most important international organizations that were established, were:
•UNESCO (United Nations Educational, Scientific and Cultural Organization), 1945,
• ICOM (International Council of Museums), 1946,
• The Council of Europe, 1949,
• ICOMOS (International Council on Monuments and Sites), 1965,
through which conventions and regulations for the protection of cultural property were adopted.
The 1954 Hague Convention of UNESCO introduced the first effective measures for the protection of cultural goods in the event of armed conflict.
In the 1970s UNESCO adopted significant Conventions
• The 1970 Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property
• The 1972 Convention concerning the Protection of World Cultural and Natural Heritage
In 1986 ICOM issued the Code of Ethics for Museums that specifies, among others, best practice in the acquisition and ownership of any cultural property.
In 1995 the UNIDROIT Convention (International Institute for the Unification of Private Law) on Stolen or Illegally Exported Cultural Objects supplemented the provisions of the 1970 UNESCO Convention.
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Theft from the Museum of the History of the Olympic Games of Antiquity


A total of 76 ancient artefacts (vases, statuettes, lamps, jewels etc.) were stolen in 2012 from the Museum of the History of the Olympic Games of Antiquity at ancient Olympia. A few months later, following systematic investigation, the Greek criminal prosecution authorities discovered the finds inside a sack buried in a rural area in Ilia. The works have been put back in their display cases.
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The culture of the “other”: citizens getting acquainted with the “world”


Sensitization of citizens is deemed paramount for the protection of the national and international cultural heritage —the public must comprehend and respect the significance of cultural goods and the history which they convey.
This can be achieved with:
• Temporary exhibitions of antiquities: cultural goods belonging to an institution are displayed as loan for a certain period of time to another establishment (usually in a foreign country). The lending museum promotes its treasures, the borrowing museum enriches temporarily its collections, while visitors are offered the opportunity, on the one hand, to familiarize themselves with other cultures by coming into contact with authentic artefacts, and on the other, to understand the benefits of the lawful circulation of archaeological artefacts and works of art.
• Special educational programmes intended for groups of young people that help them realize the consequences of the violent removal of cultural goods from their fatherland.
• Up-to-date communication mechanisms, new technologies, the internet, social media networks and applications that focus on illicit trafficking providing knowledge on the issue to various social groups.
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Collections “mobility:" a new term, a new good practice


The European Union, apart from its concern (through legislation) over the return of cultural goods illegally exported from member states and the imports by Third Countries has also promoted collections mobility. The term refers to the authorized and institutionalized movement of cultural goods in the context of temporary exhibitions. The Council of the European Union has issued decrees that ensure best practice in cross-border exchanges / travels, whereas a number of conferences, seminars and exchange of experts programmes have already been organized.
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Cooperation between Greece and the Federal Republic of Germany


The Baden State Museum of the federal state of Baden-Württemberg, whose collections were formed in the early 19th century plays an active role in the preservation and advancement of cultural heritage as well as the promotion of intercultural dialogue.


In 2014 the Museum decided to return eventually to Greece two significant antiquities of the Cycladic culture that had been illicitly trafficked, thus forming part of its collections. Their repatriation served as the basis for the conclusion in January 2016 of a Cooperation Agreement between the Hellenic Ministry of Culture and Sports and the Ministry for Science, Research and Art of Baden-Württemberg that foresees the exchange of temporary exhibitions and technical know-how in the fields of safeguarding and conservation of cultural goods.


In the context of the Cooperation Agreement the following exhibitions are included:
• "Art Nouveau at the Benaki Museum," Athens (April 5 – May 21, 2017) with significant works from the Baden State Museum,
• "Stolen past – Lost future," a travelling exhibition with material from the archives of the Hellenic Ministry of Culture and Sports, and a contribution of the Baden State Museum concerning the Greek-German collaboration in archaeology.
• "Mycenaean Greece: The Legendary World of Agamemnon" (December 1, 2018 – June 2, 2019) at the Baden State Museum, with new significant finds from all over Greece, many of which are presented for the first time,
• and the scientific symposium titled "Ambivalent times. The Mycenaean Palatial Period between Splendor and Demise" at the Centre for Ancient Sciences of the University of Heidelberg (December 1–3, 2018).
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Iconostasis door from Meteora


The iconostasis door (16th c.) that was stolen from the Monastery of the Holy Trinity at Meteora in 1979 was spotted at an auction in London in 1983. The theft and trafficking of the object was coordinated by a well-known smuggler of antiquities who had been repeatedly involved in robberies and the illegal export of antiquities from Greece. The iconostasis door was repatriated in 1986 following an intense legal battle.
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Attic grave stele


The upper part of a grave stele (410–400 BC) attributed to an Attic workshop, was discovered during illegal excavation, was illicitly exported and ended in a private collection presented at the Metropolitan Museum of Art in New York. In 1990 when the catalogue of the private collection was published, scientists realized that the rest of the stele was found in Attica, being permanent display of the Archaeological Museum of Brauron already since 1969. The expatriated section was in the end repatriated in 2008. The stele, after the two pieces were bonded back together, constitutes one of the most beautiful displays of the Archaeological Museum of Brauron, a typical example of the Rich Style of the Classical period.
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Cult relief of the god Mithras


The biggest part of a cult relief of Mithras in high-quality was excavated in Tor Cervara (Rome) by the soprintendenza di Roma in 1964. The relief was destructed by a bomb of the 2nd world war in 57 pieces. After his assembly it was clear, that some parts were missing, due to the explosion.


A Swiss archaeologist discovered that a Mithras head, part of the collection of the Baden State Museum since the 1970s, once belonged to the relief. In 2014 the Baden State Museum repatriated the head to Rome, since then the relief is one of the masterpieces of the collection "Oriental cults in the Roman empire."


Through this publication, an employee of the Carabinieri in 2017 was able to find another stolen fragment from a Sardinian art dealer: the bull's head.
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Legal versus illegal excavations: different purposes, different means…


Systematic or rescue excavations conducted with scientific methods by the Archaeological Service, Universities and foreign archaeological Schools, but also the publication of the material that comes to light lay the foundations for acquiring knowledge of the past.


The process of archaeological excavation (stratigraphic records, measured drawings, documentation etc.) and the “undisturbed” excavation site are profoundly significant not only for what is unearthed, but also for the proper, clear and holistic understanding of the place, the time, the history and the culture. The excavation is an irreversible process and its exhaustive scientific documentation by the expert and experienced scientists is essential, being institutionalized and unswervingly performed.


In contrast, illegal excavations are carried out by non-expert, ignorant and disrespectful people, inconsistently, usually in the dark, hurriedly and crudely. They destroy the site, the evidence and the monuments, sometimes removing half-ruined movable finds. Hence, they distort the past and exclude all possibility of study and interpretation, contact, insight and memory; and all that for the sake of financial gain …
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Robbery at the Museum of Corinth


In 1990 antiquities smugglers intruded into the Archaeological Museum of Ancient Corinth and stole hundreds of ancient artefacts causing serious injury to the security guard. At the end of the same decade the looted objects gradually appeared on the USA market of antiquities for sale. The thread of the case was progressively unwound and thus the perpetrators were tracked down and the looted antiquities were returned to Corinth.


The objects are back on display at the Museum in the Room devoted to the Roman antiquities since 2001.
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The routes of illicit trafficking


The cultural goods, finds retrieved during illegal excavations or stolen from Museums and archaeological sites, are funnelled through well-organized international networks, usually comprised of a large number of persons, to special traders, antiquities dealers, markets or auction houses across the globe. They are purchased by collectors and foundations that sometimes disregard their origin as well as the legitimacy of their procurement and accompanying documents. Eventually, these artefacts are resold over and over again, thereby acquiring each time new certification that disconnects them from their obscure past and legitimizes them imparting a new identity and “background”. Furthermore, electronic commerce that is thriving nowadays favours the trading of cultural goods whose origin is “unlawful” or “shrouded in secrecy.”
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Interactive navigation map


Hover over the spots to see the subject of the specific location. Click at any spot you would like to go.


Section 1: Assaults against cultural heritage | Section 2: Prevention and remedy | Free exhibits | Points of view
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Welcome to the exhibition "Stolen Past - Lost Future"
Καλωσορίσατε στην έκθεση «Κλεμμένο παρελθόν - Χαμένο μέλλον»
Willkommen zur Ausstellung "Gestohlene Vergangenheit - Verlorene Zukunft"


Please, select language - Παρακαλώ επιλέξτε γλώσσα - Bitte wählen Sie die Sprache
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Settings and Help


This application is optimized for displays with resolution of 1920x1080 pixels (High Definition) and above. You may use larger displays using the full screen button of the navigation bar.


Some functions may not work when the application is used without an internet connection.


If you are using a mobile device, the prortait mode is suggested for better viewing experience.


There are three ways to follow the exhibition: Walking along the terrain using the indications for forward or backward motion, the menu and the map. The menu and the map are available in the navigation bar.


You may stop the sound using the navigation bar. The volume is controlled by the device you are using.


You may hide/show the menu from the navigation bar.


Menu items with the ">" symbol open sub-menus when clicked (or touched). Menu items ending with "..." open views of the coresponding item.


You may fold or unfold the navigation bar. When the navigation bar is folded (hidden) there is a black button at the bottom of your screen. Click it to unfold the navigation bar. Alternatively, using the black button at the left of the navigation bar, you may fold it back, out of view.
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Welcome to the exhibition "Stolen Past - Lost Future"
Καλωσορίσατε στην έκθεση «Κλεμμένο παρελθόν - Χαμένο μέλλον»
Willkommen zur Ausstellung "Gestohlene Vergangenheit - Verlorene Zukunft"


Please, select language - Παρακαλώ επιλέξτε γλώσσα - Bitte wählen Sie die Sprache
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The Aidonia "Treasure"


1. Gold signetring depicting a chariot (replica)
2. Gold signet ring depicting a female procession (replica)
3. Lentoid seal stone (replica)
4. Gold clothingornaments (replicas)
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Marble head of Dionysos from Corinth (replica)
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Cycladic marble seated figurine (replica)
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The international scientific cooperation contributes to the study and documentation of the common cultural past.
Excavations by the German Archaeological Institute in Greece.
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Grave stele crowned with a palmette


Marble grave stele dated to the Classical period crowned with a palmette and part of an inscription of the name, possibly of the deceased, ΕΣΤΙ[ΑΙΟΣ] (Hesti[aios]). Coming undoubtedly from an ancient cemetery in Attica, the object was illegally exported from the country and was put up for sale by an auction house in London. In 2018 it was repatriated and handed over to the Epigraphic Museum in Athens.
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The UNESCO World Heritage Site of Bosra and Palmyra suffered severe damages during the Syrian civil war.
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View of Palmyra, before the destructions.
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University of M­ünster, Germany (17th June - 4th August 2019)


The exhibition "Stolen Past – Lost Future" was presented in German and Swiss university institutes and museums, with the active cooperation of the Baden State Museum of Karlsruhe and was warmly welcomed by the academic community, students, pupils, and the general public.
The Archaeological Museum of the University of Münster, one of the largest and internationally best-known universities in Germany, hosted the exhibition on the university campus. In November of the same year, the University of Münster handed over to the Greek Ministry of Culture and Sports the 6th century BC black-figure skyphos that had been presented as a prize to Spyros Louis (winner of the marathon during the first modern Olympic Games in Athens in 1896) and was part of its collection.
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Heaven and Earth: Art of Byzantium from Greek Collections, J. Paul Getty Museum, Los Angeles - Art Institute Museum, Chicago.
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Part of an attic grave stele. Returned to Greece by J.P. Getty Museum in 2012.
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University of Basel, Switzerland (15th November - 13th December 2019)


The exhibition"Stolen Past – Lost Future" was presented in German and Swiss university institutes and museums, with the active cooperation of the Baden State Museum of Karlsruhe and was warmly welcomed by the academic community, students, pupils, and the general public.


The exhibition was presented in the Kollegienhaus of the internationally recognized University of Basel, in cooperation with the Institute of Classical Archaeology of the Department of Classical Studies.
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Archaic kouros. From the excavation of the German Archaeological Institute at Keramikos, Athens.
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About us


Directorate of Archaeological Museums, Exhibitions and Educational Programmes


The Directorate of Archaeological Museums, Exhibitions and Educational Programmes –as a single directorate according to the organisational chart of the Ministry of Culture and Sport as currently in force – through the totality and range of its actions, supports, coordinates, and promotes the country’s archaeological museums. It aims to: optimise the highlighting and utilisation of their collections; safeguard and properly organise the storage of archaeological collections; encourage scientific research together with outreach by the organisation of numerous archaeological exhibitions in Greece and abroad; and plan and carry out innovative educational activities, actively supporting extended synergies.


Contact information:
Directorate of Archaeological Museums, Exhibitions and Educational Programmes, Department of Exhibitions
Postal address: 5 Themistokleous Avenue, Athens, 10677
Website
Email address: teme.dmeep@culture.gr
Telephone: +30 210 3321 707, +30 210 3321 738, +30 210 3321 747



Directorate for the Documentation and Protection of Cultural Property


The Directorate of Documentation and Protection of Cultural Goods consists of four departments, and its chief aim is to prevent and confront the illegal trade in cultural property and to recover it for the Greek State, as well as to oversee private archaeological collections and dealers in antiquities. Its main task is, on the one hand, to oversee, inspect, record and photograph antiquities which are legally in the possession of private individuals and collectors or are traded by legitimate dealers throughout the country and, on the other, to document the illicit trade in moveable monuments, to seek out all evidence that can contribute to claiming them back and to initiate the actions necessary for their recovery. It maintains and updates a series of archives, regularly follows the international art market, oversees the participation of Greek museums in exhibitions abroad, represents the country at international meetings on the illicit trade in cultural property and actively participates in drafting international agreements. To achieve these aims, it cooperates closely with all the services of the Ministry of Culture and Sports, law enforcement and judicial authorities, and international organisations such as Interpol.


Contact information:
Directorate of Documentation and Protection of Cultural Goods
Department of Documentation and Protection of Cultural Goods
Postal address: 33 Agion Asomaton St, Athens, 10553
Website
Email address: tmtppa@culture.gr
Telephone: +30 210 32 38 877
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Terms and Conditions of Use


The Directorate of Archaeological Museums, Exhibitions and Educational Programmes (hereinafter DAMEEP) and the Directorate of Documentation and Protection of Cultural Goods (hereinafter DDPCG)/ Ministry of Culture and Sports/Hellenic Republic provide the digital application (hereinafter DA) ‘Stolen Past - Lost Future’ for use on their web portal under the following terms and conditions, which the visitors/users of DA are requested to read carefully and fully accept before visiting/using the DA. Use implies acceptance of the following terms, which may be revised and updated at any point of time and without prior notice.


The visitor/user is responsible for their own access to DA in DAMEEP & DDPCG portal. Moreover they are exclusively responsible for their own equipment and necessary technological means that enables their access to the web portal.


DAMEEP & DDPCG take all measures necessary to ensure the proper functioning of DA on their web portal. Nevertheless DAMEEP & DDPCG accept no responsibility for any adverse consequence or damage that the portal users may suffer from its use or failure to use it, delays during the use and errors or omissions therein.


DAMEEP & DDPCG provide no warranty that the portal or any affiliated web site or servers that make available DA to the visitors/users is provided free of “viruses” or other malicious components. The cost of any possible repair or service constitutes the sole responsibility of the visitors/users.


DAMEEP & DDPCG bear no responsibility for the accessibility, content, privacy policy and quality of services of other websites, which users access through DA in its own web portal (via links).


The entire content in DA, including texts, graphics, photographs, drawings, logos videos, etc, with the exception of those instances mentioned (intellectual rights of images of third parties, associates and agencies), constitutes the intellectual property of DAMEEP & DDPCG of the Hellenic Ministry of Culture and Sports and shall be protected by the national, community and international law in effect. The visitors/users understand and accept that they are not entitled to modify, sell, resell and/or commercially exploit DA content, in any manner whatsoever in whole or in part.


DAMEEP & DTPPA retains the right to legally amend the content of their portal, with or without prior notice to their visitors/users.


The above terms and conditions for the use of DA on DAMEEP & DDPCG web portal, as well as any amendments, are governed and supplemented by national and European Union law, as well as the relevant international treaties.


If visitors while browsing DA encounter errors or dysfunctions, they are kindly requested to contact us by email at teme.dmeep@culture.gr.


Rights (Copyright©) for the images of Services of the Hellenic Ministry of Culture and Sports:
Hellenic Ministry of Culture and Sports / Hellenic Organization of Cultural Resources Development (HOCRED)
Creative Commons Licence: Attribution-Non Commercial-No Derivatives 4.0 International (CC BY-NC-ND 4.0)


Rights (Copyright©) of images from External Partners
The Baden State Museum, Karlsruhe
University of Heidelberg, Centre for Ancient Studies, Institute for Pre-History, Protohistory, and Near Eastern Archaeology, Prof. Joseph Maran/Institute for Classical Archaeology, Prof. Diamantis Panagiotopoulos
University of Heidelberg, Centre for the Cultural Heritage of Heidelberg
Ephorate of Antiquities of Argolis, Dr. Alkestis Papadimitriou
National Archaeological Museum, Eleftherios Galanopoulos
Archaeological Museum of Thessaloniki, Orestis Kourakis
German Archaeological Institute
Department of Cypriot Antiquities
Sokrates Mavrommatis
Rozario Anazalone
Christian Scharfenberg
ArcTron Ltd., Altenthann
Ria Würdemann
The Baden State Museum, Karlsruhe, Peter Gaul
Archaeological Museum of the University of Munster, Lianne Hecht
University of Basel, Department of Classical Studies, Prof. Martin Guggisberg, Director of Classical Archaeology.



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About this exhibition


The exhibition ‘Stolen Past – Lost Future’ was organised by the Directorate of Archaeological Museums, Exhibitions and Educational Programmes and the Directorate of Documentation and Protection of Cultural Goods under the general coordination of the General Directorate of Antiquities and Cultural Heritage in cooperation with the Baden State Museum in Karlsruhe, within the framework of the cooperation agreement between the Greek Ministry of Culture and Sports and the Ministry of Science, Research and Art of Baden-Württemberg (2016). It constitutes a ‘good practice’ cooperation between official bodies and states, with the aim of alerting the public and raising awareness of matters pertaining to the protection of cultural heritage and the further boosting of common efforts to bring a dynamic and definitive end to this international crime against humanity.


From 2018 to the present day, the photographic exhibition has been successfully presented in museums and university institutes in Germany and Switzerland. The magnitude of the loss caused by the destruction and looting of and the illicit trade in international cultural property – which is then separated from its history and environment – is made clear through examples and specific cases. By contrast, the exhibition highlights the benefits of: protecting and respecting cultural reserves; the legal possession of collections; and legal excavations, which allow finds to maintain their origins, their value, and the historical information they provide.


Making use of the modern-day technological tools, the responsible directorates of the Ministry of Culture and Sports have created a digital record of the exhibition, with the aim of promoting it as widely as possible.
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Baden State Museum in Karlsruhe, Germany (30th January - 2nd June 2019)


The exhibition"Stolen Past – Lost Future" was presented in German and Swiss university institutes and museums, with the active cooperation of the Baden State Museum of Karlsruheand was warmly welcomed by the academic community, students, pupils, and the general public.


The Baden State Museum in Karlsruhe, which is housed in an historic building and celebrated its centenary in 2019, hosted the exhibition in the central ‘Throne Room’. The exhibition garnered the interest of 10,000 visitors in its first two months, as well as a large audience via social media, and was accompanied by articles in the German press and electronic mass media.
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CREDITS


DIGITAL EXHIBITION


Directorate of Archaeological Museums, Exhibitions and Educational Programmes, Hellenic Ministry of Culture and Sports


GENERAL COORDINATION-SUPERVISION
Dr. Anastasia Lazaridou, Vasiliki Papageorgiou,
Dr. Elena Vlachogianni, Nikoletta Saraga


DIGITAL MUSEOGRAPHY OVERVIEW
Dr. Anastasia Lazaridou, Nikoletta Saraga


PROJECT TEAM
Dr. Elena Vlachogianni, Kostantia Karagianni, Agni Mitropoulou, Nikoletta Saraga, Anastasia Souliou.


TEXTS
Dr. Anastasia Lazaridou, Vasiliki Papageorgiou, Kostantia Karagianni, Agni Mitropoulou, Nikoletta Saraga


SPEEAKAGE EDITING
Dr. Elena Vlachogianni, Kostantia Karagianni, Agni Mitropoulou, Nikoletta Saraga


ARCHITECTURAL DESIGN OF TEMPORARY EXHIBITION
Alexandros Xenakis


GRAPHIC DESIGN OF TEMPORARY EXHIBITION
Provided by courtesy of Thymios Presvytis / Peak Design


Παραγωγή RadiantTechnologiesAEBE


DIGITAL EXHIBITION CONCEPT & DESIGN
Tasos Bellas (Radiant Tehnologies)


TEXT ADDAPTATIONS & PRODUCTION OVERVIEW
Dr. Mimika Giannopoulou


PROJECT MANAGEMENT
Dr. Mimika Giannopoulou, Manolis Vouvakis (Radiant Tehnologies), Sophia Papanagiotou (Radiant Tehnologies)


3D GRAPHICS AND DESIGN
Tasos Bellas (Radiant Tehnologies), Giorgos Kostopoulos


NARRATORS
Andreas Kondopouloss (in Greek), Steve Lever (in English), Michael Siebel (in German)


AUDIO RECORDING & AUDIO PROCESSING
Radiant Technologies Studio, Christos Andreadakis (Radiant Tehnologies)


ADDITIONAL TRANSLATIONS
Steve Lever (in English), Michael Siebel (in German)


MUSIC AND SOUNDS
Tasos Bellas (Radiant Tehnologies)
With Public Domain material from Bensound and
private sources (Radiant Tehnologies)


WEB DESIGN
Tool Ltd



TEMPORARY EXHIBITION


Hellenic Ministry of Culture and Sports


GENERAL COORDINATION
Dr. Maria Andreadaki-Vlazaki, General Secretary - Ministry of Culture and Sports (2015-2019)


ORGANIZING COMMITTEE
General Directorate of Antiquities and Cultural Heritage -Directorate of Archaeological Museums, Exhibitions and Educational Programmes, Directorate of Documentation and Protection of Cultural Goods


Dr. Polyxeni Adam-Veleni, Dr. Elena Korka, Dr. Anastasia Lazaridou, Souzana Choulia-Kapeloni, Vasiliki Papageorgiou


ACADEMIC SUPERVISION
Dr. Elena Korka, Dr. Anastasia Lazaridou, Dr. Elena Vlachogianni, Nikoletta Saraga, Dr. Anastasia Rammou


ARCHITECTURAL DESIGN
Alexandros Xenakis


RESEARCH AND DOCUMENTATION
Dr. Elena Vlachogianni, Dr. Anna Lekka, Eleni Pipelia, Dr. Anastasia Rammou, Vasileios Sakelliadis, Anastasia Souliou


EXHIBITION TEXTS
Ioanna Adamopoulou, Dr. Jenny Albani, Dr. Anastasia Lazaridou, Agni Mitropoulou, Giota Bisila, Vasiliki Papageorgiou, Nikoletta Saraga, Alexandra Seleli


TEXT EDITING
Dr. Jasmin Moysidou


TRANSLATION
Dimitris Doumas (English), Dr. Julia Linke (German)


GRAPHIC DESIGN
Thymios Presvytis / Peak Design


REPLICAS PROVISION
Hellenic Foundation for Culture


WORK AND STRUCTURES
A. LIGNOS & CO. Commercial Company


ADMINISTRATIVE SUPPORT
Evangelos Pournaras


Baden-Wurttemberg, Germany
Baden State Museum, Karlsruhe


GENERAL DIRECTOR
Prof. Dr. Eckart Köhne


COMMERCIAL DIRECTOR
Susanne Schulenburg


PROJECT TEAM
Dr. Katarina Horst, project management, Dr. Julia Linke, curator and coordination


PR AND MARKETING
Katrin Lorbeer; Jana Hirschbach, Natalia März, Michael Danz


GRAPHIC DESIGN
Petra Gerlach


HUMAN RESOURCES AND FINANCES
Petra Weiler; Tanja Mercedes-Bernabel (Procurement)


Twin Study


IDEA AND STORYLINE
Dr. Julia Linke


ILLUSTRATIONS
Christian Scharfenberg


Digital Application for Tiryns Excavation


IDEA AND CONCEPT
Dr. Julia Linke (Baden State Museum)


TIRYNS PROJECT TEAM
Dr. Alkestis Papadimitriou (Hellenic Ministry of Culture and Sports, General Directorate of Antiquities and Cultural Heritage, Ephorate of Antiquities of Argolida), Prof. Dr. Joseph Maran (University of Heidelberg)


TEXTS
Dr. Julia Linke (Baden State Museum), Prof. Dr. Joseph Maran (University of Heidelberg), Dr. Alkestis Papadimitriou (Hellenic Ministry of Culture and Sports, General Directorate of Antiquities and Cultural Heritage, Ephorate of Antiquities of Argolida)


DIGITAL MODEL OF TIRYNS
ArcTron Ltd., Altenthann


REALIZATION
PXNG.li Ltd., Karlsruhe


Universität Heidelberg


CENTER FOR ANCIENT STUDIES
Prof. Dr. Joseph Maran (Institute for Prehistory, Protohistory and Near Eastern Archaeology),
Prof. Dr. Diamantis Panagiotopoulos (Institute for Classical Archaeology)


HEIDELBERG CENTER FOR CULTURAL HERITAGE
Prof. Dr. Christian Witschel; Michaela Böttner, Johanna Baumgärtel
Department for PR and Marketing


Information and photographs provided by courtesy of:
Archive of the Directorate of Archaeological Museums, Exhibitions and Educational Programmes
Archive of the Directorate οf Documentation and Protection of Cultural Goods
Acropolis Museum
National Archaeological Museum, E. Galanopoulos
Archaeological Museum of Thessaloniki, O. Kourakis
Byzantine and Christian Museum,
Epigraphic Museum,
Acropolis Museum
Ephorate of Antiquities of the City of Athens, S. Mavrommatis
Ephorate of Antiquities of East Attica
Ephorate of Antiquities of Argolida
Ephorate of Antiquities of Boeotia
Ephorate of Antiquities of Ilia
Ephorate of Antiquities of Corinth
Ephorate of Antiquities of the City of Thessaloniki
Ephorate of Antiquities of Kozani
Ephorate of Antiquities of Lakonia
Ephorate of Antiquities of Chios
German Archaeological Institute
Cyprus Department of Antiquities
Rosario Anazalone
Creative Commons




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The excavation diary


The excavation diary records all the work that takes place during an excavation and describes the conditions in which all the material remains were found.


All the valuable primary information necessary for the further management and study of the archaeological material is taken from the excavation diary.
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Stolen Past - Lost Future


The protection and promotion of the European cultural heritage, nowadays more than ever, in the light of the serious political, social and economic challenges which the European as well as the international community faces, have acquired special significance and turned into a core value.
The ideals, the principles and the values intertwined with the cultural heritage of Europe, constitute a common source of memory, dialogue, understanding of otherness, cohesion and creativity for Europe. Being a common good, these must be preserved as a treasure for the generations to come. Hence, the crackdown on the smuggling of antiquities is the main field of intervention for the benefit of cultural heritage and the history of countries and their peoples.


This exhibition titled “Stolen Past – Lost Future” is not merely a photographic exhibition, a fixed self-contained exhibition expression, but having the character of a travelling exhibition hosted by museums, universities and places where decisions are taken that determine the future of Europe aims to serve as a step towards active dialogue and awareness, and alert to the global moral commitment to the significance of the preservation of cultural heritage.


The photographic material of the exhibition documents the disparity between the illicit excavation and trafficking of antiquities and the scientific character and value of systematic excavation which stratifies objects and bestows upon them their historical significance in space and time enabling their study that elucidates pieces of history.


It records, in the context of international legislation, the common European practices of collaboration, illustrating characteristic examples of the best practices in the repression of the smuggling of antiquities and the return of objects to the monuments and groups to which they belong. The present exhibition aims to further activate the common efforts in order to put a dynamic and final stop to this global crime against humanity.


This exhibition is the result of such a common effort. It is organized in collaboration with the Baden State Museum Karlsruhe and the Hellenic Ministry of Culture and Sports, in the framework of the Cooperation Agreement between the Ministry for Science, Research and Art of Baden-Württemberg and the Hellenic Ministry of Culture and Sports (2016).
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University of Heidelberg, Germany (12th November - 5th December 2018)


The exhibition"Stolen Past – Lost Future" was presented in German and Swiss university institutes and museums, with the active cooperation of the Baden State Museum of Karlsruhe and was warmly welcomed by the academic community, students, pupils, and the general public.


The exhibition was presented at the University of Heidelberg – one of the oldest educational institutions in Europe and the oldest in Germany – and attracted 12,000 visitors. At the same time, a scientific round-table meeting was organized (1st December 2018) on the subject of the illicit trade in cultural property, with speakers from Germany and Greece.
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