Object ID: A model of global collaboration

Museum Management and Curatorship

Volumn 20, Issue 1, 2005, Pages 21-39

  Yasaitis, Kelly Elizabeth ^a  

^a NONE   (United States)

Author keywords

AAM; Appraisers; Archaeological organizations; Art insurance specialists; Art trade; CoPAT; Cultural heritage organizations; Cultural property; Customs agencies; Getty Trust; ICOM; Illicit trade; Law enforcement agencies; Museums; Object ID; Standard documentation; Stolen art; UNESCO

Indexed keywords

EID: 14844333078     PISSN: 02604779     EISSN: None     Source Type: Journal    
DOI: 10.1016/j.musmancur.2004.12.004     Document Type: Article

References (92)

1. See About the Art Theft Detail (2004). Los Angeles Police Department (stating that the total amount of recovery of stolen art and cultural property items since 1993 is $48,498,492), at http://www.lapdonline.org/get_involved/stolen_art/art_theft_about.htm (last visited March 18, 2004).
2. See generally Art Theft Program, About Us (2004). FBI, at http://www.fbi.gov/hq/cid/arttheft/aboutus.htm (last visited March 2, 2004).
3. See J.M. Ballester Forward-Council of Europe In: R. Thornes & J. Bold (Eds.) Documenting the cultural heritage 1998 Getty Information Institute Los Angeles, CA (finding it necessary to use an agreed upon framework for any kind of real, practical application of documentation principles). Available at http://www.object-id.com/heritage/fore.html (last visited February 16, 2004)
4. P.M. Bator An essay on the international trade in art Stanford Law Review 34 1982a 275 see also pages 292-293
5. P.M. Bator An essay on the international trade in art Stanford Law Review 34 1982b 290
6. Bridgland, J. (1995). The GCI 1985-1995: A retrospective. The Getty Conservation Institute Newsletter (Getty Conservation Institute Summer), at http://www.getty.edu/conservation/resources/newsletter/10_2/ feature1.html (last visited March 1, 2004).
7. Brinkman, M. (2004). The causes of illicit traffic in cultural property, at http://ibacultural heritage.com/section1/brinkman_print.htm (last visited November 16, 2004).
8. Convention on the means of prohibiting and preventing the illicit import and export and transfer of ownership of cultural property (1970a). November 14, 823 U.N.T.S. 231.
9. Convention on the means of prohibiting and preventing the illicit import and export and transfer of ownership of cultural property (1970b). November 14, 823 U.N.T.S. 231, art. 31.
10. Council for the Prevention of Art Theft, CoPAT (2004a). Antiques theft and cultural crime. Available at http://www.ex.ac.uk/politics/pol_data/undergrad/serena/website/pages/ copat.html (last visited November 12, 2004).
11. See generally Council for the Prevention of Art Theft, CoPAT (2004b). National treasures, cherished possessions, CoPAT safeguarding our heritage. Available at http://www.object-id.com/images/leaflet.pdf (last visited February 16, 2004).
12. See Efforts to Protect Cultural Property Worldwide (2004). US and international laws (listing the Art Loss Register, ICOM Red List, Interpol as places to go for information on stolen art, and US and international law enforcement agencies, and conservation and preservation agencies as other means of protecting cultural property), at http://exchanges.state.gov/culprop/efforts.html (last visited January 27, 2004).
13. E. Fink Forward In R. Thornes (Ed.) Protection cultural objects in the global information society 1997 Getty Information Institute Los Angeles, CA vii
14. Fink E. (Presenter) (2004). Future of online culture. Online futures panel, at http://www10.org/program/culture/fink.html (last visited November 12, 2004).
15. See Flores, M. (1996). Wanted: Stolen art. The Yale International Forum Online, Fall (discussing an example whereby a benefactor of the British Tate Gallery used forged documents to create a seemingly proper file on the artist Ben Nicholson), at http://www.yale.edu/iforum/Fall1996/ ArtFall96.htm (last visited February 18, 2004).
16. G.A. Res. 58/17, U.N. GAOR, 58th Sess., at 2, U.N. Doc. A/Res/58/17 (2003).
17. See also P. Gerstenblith Ownership and protection of heritage: Cultural property rights for the 21st century: The public interest in the restitution of cultural objects Connecticut Journal of International Law 16 2001a 197 see also p. 199 (stating that once cultural objects are removed from the ground, without proper documentation, the objects become separated from their 'scientific, historic and cultural values')
18. See P. Gerstenblith Ownership and protection of heritage: Cultural property rights for the 21st century: The public interest in the restitution of cultural objects Connecticut Journal of International Law 16 2001b 211-212 (finding that the quirks in national legal systems, such as loose import or export controls, and the lack of enforcement with professional associations' codes of ethics aid the 'unfettered' trade in stolen objects).
19. See Getty Museum Returns Stolen Art (1999). BBC News, February 6 (describing the return of a Greek terracotta cup from the 5th century B.C. and two Roman sculptures from the 2nd century B.C. to Italy after discovering they had been stolen from an archaeological site before being sold to private dealers). Available at http://news.bbc.co.uk/2/hi/ Europe/273618.stm (last visited February 18, 2004).
20. ICOM Code of Ethics for Museums 3.2 (2001). Available at http://icom.museum/ethics_rev_engl.html (last visited March 16, 2004).
21. See The International Committee for Documentation of the International Council of Museums (2002). Museum information standards. ICOM, December 19 (used as a resource guide, and describing Object ID a standard that brings together various organizations to combat art theft), at http://www.willpowerinfo.myby.co.uk (last visited January 27, 2004).
22. See also International Cultural Property Protection, US Response, Image Database (2002). US State Department Bureau of Educational and Cultural Affairs, July 19 (explaining that the Image Database is designed to describe the types of objects subject to import restrictions, and intended to supplement any descriptive information published in the Federal Register), at http://exchanges.state.gov/culprop/database.html (last visited March 1, 2004).
23. Iraq: The United Nations Presence (2003). UN Chronicle Online Edition, August 1, at http://www.un.org/Pubs/chronicle/section/080103_unesco.asp (last visited February 16, 2004).
24. See Jackson, S. (1998). Fighting the theft of art, The Getty Conservation Institute Newsletter (Getty Conservation Institute Spring) (explaining that the Art Loss Register was created by art trade organizations, such as Christie's and Sotheby's, and various insurance companies, such as Llyods of London and Nordstern, and it represents the first international computerized database for stolen art works). Available at http://www.getty.edu/conservation/publications/newsletters/ 13_1/news1_1.html (last visited March 18, 2004).
25. See J. Paul Getty Trust (2004a). About us, history (stating that at the time of J. Paul Getty's death in 1982, his sizable estate went into the property of the Getty Trust, and the museum was then significantly expanded). Available at http://www.getty.edu/about/getty/history.html (last visited March 17, 2004).
26. See J. Paul Getty Trust (2004b). About us (noting that the Getty is an 'operating trust'). Available at http://www.getty.edu/about/ (last visited February 18, 2004).
27. See J. Paul Getty Trust (2004c). About us (explaining that the Getty Trust is now comprised of the Museum, the Research Institute, the Conservation Institute, the Grant Program, and the Leadership Institute). Available at http://www.getty.edu/about/ (last visited February 18, 2004).
28. See T. Kaiser The antiquities market Journal of Field Archaeology 18 1991 87 (discussing the 'nighttime break-in' and looting of the Archaeological Museum of Ancient Corinth as possibly the 'largest theft of antiquities ever to be carried out in Greece')
29. Kaufman, J. E. (1996a). Getty decides publishing equals provenance. The Art Newspaper, January 7, at http://62.253.9/asset/ Access.exe?DATABASES=an&LABEL=an (last visited February 18, 2004).
30. See Kaufman J. E. (1996b). Getty decides publishing equals provenance. The Art Newspaper, January 7, at http://62.253.9/asset/Access.exe?DATABASES=an&LABEL=an (last visited February 18, 2004) (quoting Ms Marion True, curator of antiquities at the Getty Museum).
31. See Kaufman, J. E. (1996c). Getty decides publishing equals provenance. The Art Newspaper, January 7, at http://62.253.9/asset/ Access.exe?DATABASES=an&LABEL=an (last visited February 18, 2004) (asking why set the date at 1995, and why not require all objects have published documentation accompanying them; and ultimately stating that the decision had to do with 'internal politics' and that while the museum has taken certain precautions to avoid stolen art, much of its collection acquired over recent decades has never been published or documented).
32. See Kaufman, J. E. (1996d). Getty decides publishing equals provenance. The Art Newspaper, January 7, at http://62.253.9/asset/ Access.exe?DATABASES=an&LABEL=an (last visited February 18, 2004) (referring to the distinction between an object being 'published', and an object being 'documented', with the later being the proper requirement).
33. See also Letter from Kelly, R. L. (2003). President of the Society for American Archaeology, to Donald Rumsfeld, United States Secretary of Defense (February 27) (requesting the United States adhere to the 1954 Hague Convention for the protection of cultural property in the event of armed conflict and take steps to protect Iraq's cultural heritage). Available at http://www.saa.org/government/Iraq.html (last visited March 16, 2004).
34. See generally Magliveras, K. D. (2002). An examination of the new UNIDROIT Convention on the return of stolen or illegally exported cultural goods. International Enforcement Law Reporter, September 19, Sec. 3.
35. See M.C. Malaro A legal primer on managing museum collections 1998a Smithsonian Institution Press Washington, DC p. 84 (stating the many undocumented objects are undocumented because they have been excavated and removed from their countries of origin illegally)
36. See M.C. Malaro Legal primer on managing museum collections 1998b Smithsonian Institution Press Washington, DC p. 86 (arguing that all museums, regardless of their mission or collection, share the common problems of poor documentation and stolen pieces)
37. See Marcus, G. E. The production of European high culture in Los Angeles: The J. Paul Getty Trust as artificial curiosity. Cultural Anthropology, 5, 314, 321 (discussing the Getty's efforts to move beyond the 'art collector' image and to a more 'art study' perception).
38. See Marcus, G. E. The production of European high culture in Los Angeles: The J. Paul Getty Trust as artificial curiosity. Cultural Anthropology, 5, 323 (revealing the Getty purchased a small Renoir for $17 million and paid $35 million for a Pontormo in the late 1980s).
39. J.H. Merryman Article: Two ways of thinking about cultural property American Journal of International Law 80 1986 831 see also pages 843-844
40. See Museum Collections Management/Documentation Standards (2004). CHIN (explaining that SPECTRUM was created by the mda [previously the Museum Documentation Association] to establish 'good practice for museum documentation'), at http://www.chin.gc.ca/English/Standards/ metadata_documentation.html (last visited March 2, 2004).
41. See Object ID (1998). The Getty Conservation Institute Newsletter (Getty Conservation Institute Spring) (explaining that the video and guide were to help curators and collectors put Object ID into practice). Available at http://www.getty.edu/conservation/publications/newsletters/13_1/ news1_1.html (last visited April 19, 2004).
42. Object ID (2004a). About Object ID, at http://www.object-id.com/ about.html (last visited January 27, 2004).
43. See Object ID (2004b). About Object ID, at http://www.object-id.com/ about.html (last visited January 27, 2004) (stating that Object ID as a standard was released worldwide in 1997).
44. See Object ID (2004c). Object ID Checklist (advising the curator or collector to answer the following questions: What type of object, what materials and techniques, what measurements, any inscriptions or markings, any distinguishing features, is there a title, what is the subject represented, what date or period, and who is the maker?). Available at http://www.object-id.com/checklist/check_eng.html (last visited January 27, 2004).
45. See Object ID (2004d). Who is using it (stating that the publication was available in both English and French), at http://www.object-id.com/ who.html (last visited January 27, 2004).
46. See Object ID (2004e). Who is using it (referring also to Object ID's use by the Italian Carabinieri, the Czech Republic, and Trace, as well as by various customs agencies), at http://www.object-id.com/who.html (last visited January 27, 2004).
47. See Object ID (2004f). Who is using it (noting, specifically, that AXA Nordstern Art Insurance, Chubb and Son, General Reinsurance Corporation, Hiscox Insurance, Mannheim Insurance, Swiss Re, CINOA, the London and Provincial Art Dealers Association, Private Art Dealers Association of Canada, the Association of Dealers in American Art, and the British Antique Dealers Association are using Object ID), at http://www.object-id.com/who.html (last visited January 27, 2004).
48. See Object ID (2004g). Who is using it (stating that Object ID is translated in Arabic, Chinese, Czech, Dutch, French, German, Hungarian, Italian, Korean, Persian, Russian, and Spanish), at http://www.object-id.com/who.html (last visited January 27, 2004).
49. See Object ID (2004h). Who is using it (stating that the official announcement of the Korean Object ID came at the 'INTERPOL symposium on works of art, antiquities and cultural property' in October 1999), at http://www.object-id.com/who.html (last visited January 27, 2004).
50. Object ID (2004i). Museum security network, at http://www.museum-security.org/object-ID-and-Copat.htm (last visited November 12, 2004).
51. See Object ID (2004j). News (calling the conference the 'cultural heritage management and urban development: Challenge and opportunity'), at http://www.object-id.com/news.html (last visited January 27, 2004).
52. See 'Object ID Programme (2004). KIT Culture, Royal Tropical Institute (noting that the program provides installation of computers, e-mail connection, Object ID software, training in registration and on the use of Object ID, helpdesk service for 2 years, an annual follow-up visit, and access to the user-group network on the Royal Tropical Institute's website), at http://www.kit.nl/objected/html/programmer_.asp (last visited November 16, 2004).
53. See M.E. Phelan Museum law, a guide for officers, directors and counsel 1994 Kalos Kapp Press Evanston, IL p. 281 (encouraging museum directors to become familiar with the laws surrounding art and cultural property ownership so as to understand what documentation is needed to have a valid title)
54. See M. Phelan & L. Roussin Public international law: Cultural property International Law 35 2001 649 (quoting the Major General Conforti, Head of the Protection of National Heritage Command of the Italian Carabinieri)
55. Preliminary draft UNIDROIT Convention on stolen or illegally exported cultural objects (June 24, 1995) at http://exchanges.state.gov/culprop/ unidroit.html (last visited March 16, 2004).
56. Preliminary draft UNIDROIT Convention on stolen or illegally exported cultural objects (June 24, 1995) at http://exchanges.state.gov/culprop/ unidroit.html (last visited March 16, 2004), preamble.
57. See generally Press Release (1999a). The Getty Information Institute closed its doors and its web site on June 30, 1999. Available at http://www.getty.edu/news/press/online/giiclosure.html (last visited March 20, 2004)
58. See Press Release (1999b). J. Paul Getty Trust names new home for Object ID (September 24) (stating that the Getty Grant Program gave CoPAT a $90,000 grant to help the charity house Object ID). Available at http://www.getty.edu/news/press/online/objected.html (last visited January 27, 2004).
59. C. Renfrew Loot, legitimacy and ownership 2000a Duckworth London, UK p. 15
60. C. Renfrew Loot, legitimacy and ownership 2000b Duckworth London, UK pp. 54-56
61. C. Renfrew Loot, legitimacy and ownership 2000c Duckworth London, UK pp. 58-60
62. C. Renfrew Loot, legitimacy and ownership 2000d Duckworth London, UK p. 16
63. C. Renfrew Loot, legitimacy and ownership 2000e Duckworth London, UK pp. 28-30, 69, 70
64. Report by the intergovernmental committee for promoting the return of cultural property to its countries of origin or its restitution in case of illicit appropriation (1999). 30th Sess., Report, at 6-7, Annex I-3, U.N. Doc. 30 C/REP.14.
65. See S. Rep. No. 97-564, at 23 (2d Sess. 1982) (referring to an argument made by Prof. Paul M. Bator, and finding the cultural art trade so difficult because there are no 'reliable insights' or information about it).
66. See Stolen Works of Art, Object ID (2004a). Interpol, March 2 (referring to CRIGEN/ART forms as those documents that are used by all 181 member countries to enter information about stolen art and cultural property into Interpol's database), at http://www.interpol.int/Public/WorkOfArt/ Partnership/objected.asp (last visited March 2, 2004).
67. See Stolen Works of Art, Object ID (2004b). Interpol, March 2 (reaffirming that from the very beginning of the project, Object ID was a collaboration by many different, key agencies and groups in the art world), at http://www.interpol.int/Public/WorkOfArt/Partnership/ objected.asp (last visited March 2, 2004).
68. See R. Thornes The Getty art history information program, protecting cultural objects 1995a Getty Art History Information Program Los Angeles, CA pp. 7-8 (finding that worldwide, the looting and plunder of archaeological resources has increased over the past thirty years)
69. R. Thornes The Getty art history information program, protecting cultural objects 1995b Getty Art History Information Program Los Angeles, CA p. 13
70. R. Thornes The Getty art history information program, protecting cultural objects 1995c Getty Art History Information Program Los Angeles, CA p. 13
71. See R. Thornes The Getty art history information program, protecting cultural objects 1995d Getty Art History Information Program Los Angeles, CA pp. 13-14 (pointing out that the Charter of Courmayeur, Resolution 3, the CSCE's Cracow Symposium, and the Council of Europe all have stressed the need to systematically identify movable objects)
72. See R. Thornes The Getty art history information program, protecting cultural objects 1995e Getty Art History Information Program Los Angeles, CA p. 15 (describing core information as that which is essential, both pictorially and textually, to an object's identification)
73. See also R. Thornes The Getty art history information program, protecting cultural objects 1995f Getty Art History Information Program Los Angeles, CA p. 20 (revealing that the most responses came from museums and galleries, with documentation centers second, and law enforcement agencies third)
74. R. Thornes The Getty art history information program, protecting cultural objects 1995g Getty Art History Information Program Los Angeles, CA p. 20
75. See R. Thornes The Getty art history information program, protecting cultural objects 1995h Getty Art History Information Program Los Angeles, CA pp. 7-8 (noting that 87 of the 107 responding organizations used computerized databases)
76. R. Thornes Protection cultural objects in the global information society 1997a Getty Information Institute Los Angeles, CA p. 1
77. See R. Thornes Protection cultural objects in the global information society 1997b Getty Information Institute Los Angeles, CA p. 1 (discussing the importance of raising public awareness as to the necessity of standardized documentation procedures)
78. See R. Thornes Protection cultural objects in the global information society 1997c Getty Information Institute Los Angeles, CA p. 1 (quoting David Scully, from Nordstern Insurance, UK)
79. R. Thornes Protection cultural objects in the global information society 1997d Getty Information Institute Los Angeles, CA pp. 3-4
80. R. Thornes P. Dorrell & H. Lie Introduction to Object ID, guidelines for making records that describe art, antiques, and antiquities 1999a Getty Information Institute Los Angeles, CA (stating that the Getty Art History Information Program, renamed the Getty Information Institute in 1996, organized the project). Available at http://www.object-id.com/ guide/guide_making.html (last visited February 16, 2004). The Getty Information Institute closed on June 30, 1999, as its work in developing methods of sharing electronic research about art history was integrated into other areas of the Trust
81. See R. Thornes P. Dorrell & H. Lie Introduction to Object ID, guidelines for making records that describe art, antiques, and antiquities 1999b Getty Information Institute Los Angeles, CA (noting that the other methods of collecting information involved background research and interviews). Available at http://www.object-id.com/guide/ guide_making.html (last visited February 16, 2004). The Getty Information Institute closed on June 30, 1999, as its work in developing methods of sharing electronic research about art history was integrated into other areas of the Trust
82. See R. Thornes P. Dorrell & H. Lie Introduction to Object ID, guidelines for making records that describe art, antiques, and antiquities 1999c Getty Information Institute Los Angeles, CA (noting that the results of the surveys were published by the Getty in Protecting Cultural Objects through International Documentation Standards: A Preliminary Survey, July 1995, and included the responses from organizations in 43 countries). Available at http://www.object-id.com/guide/guide_making.html (last visited February 16, 2004). The Getty Information Institute closed on June 30, 1999, as its work in developing methods of sharing electronic research about art history was integrated into other areas of the Trust
83. See R. Thornes P. Dorrell & H. Lie Introduction to Object ID, guidelines for making records that describe art, antiques, and antiquities 1999d Getty Information Institute Los Angeles, CA (stating that, '[i]deally, the information that can identify a stolen or illegally exported object should be able to travel at least as fast as the object itself', thus, the standard needs to be accessible and understandable to all organizations). Available at http://www.object-id.com/guide/guide_making.html (last visited February 16, 2004). The Getty Information Institute closed on June 30, 1999, as its work in developing methods of sharing electronic research about art history was integrated into other areas of the Trust
84. See R. Thornes P. Dorrell & H. Lie Introduction to Object ID, guidelines for making records that describe art, antiques, and antiquities 1999e Getty Information Institute Los Angeles, CA (explaining that Object ID uses broad categories instead of specific requirements so as to be more compatible with an organization's existing program). Available at http://www.object-id.com/guide/guidek_making.html (last visited February 16, 2004). The Getty Information Institute closed on June 30, 1999, as its work in developing methods of sharing electronic research about art history was integrated into other areas of the Trust
85. 249 U.N.T.S. 215 (2004a). A second protocol to the 1954 Hague Convention for the protection of cultural property in the event of armed conflict was created in 1999, reaffirming and elaborating on the need to improve international efforts to protect cultural property in the case of armed conflict. Protection of cultural property in the event of armed conflict, legal protection and heritage. Culture and UNESCO, at http://www.unesco.org/culture/legalprotection/war/html_eng/index_en.shtml (last visited March 16, 2004).
86. See 249 U.N.T.S. 215 (2004b). A second protocol to the 1954 Hague Convention for the protection of cultural property in the event of armed conflict was created in 1999, reaffirming and elaborating on the need to improve international efforts to protect cultural property in the case of armed conflict. Protection of cultural property in the event of armed conflict, legal protection and heritage. Culture and UNESCO, at http://www.unesco.org/culture/legalprotection/war/html_eng/index_en.shtml (last visited March 16, 2004), art. 4 (referring to the cultural party of the host nation to the conflict, and containing a controversial waiver for actions imperatively required by 'military necessity').
87. See 249 U.N.T.S. 215 (2004c). A second protocol to the 1954 Hague Convention for the protection of cultural property in the event of armed conflict was created in 1999, reaffirming and elaborating on the need to improve international efforts to protect cultural property in the case of armed conflict. Protection of cultural property in the event of armed conflict, legal protection and heritage. Culture and UNESCO, at http://www.unesco.org/culture/legalprotection/war/html_eng/index_en.shtml (last visited March 16, 2004), art. 28 (leaving open the question of which enforcement measures should be used).
88. See US Department of Justice (2004). About the Cultural Property Program. US National Central Bureau of Interpol (stating that the US National Central Bureau of Interpol uses its database to inform law enforcement agencies, USNCB State Liaison Offices, and various art organizations throughout the United States of cultural property updates), at http://www.usdoj.gov/usncb/culprop/cultureabout.htm (last visited March 2, 2004).
89. See K.D. Vitelli Antiquities market, news and commentary on the illicit traffic in antiquities Journal of Field Archaeology 5 1978 97-98 (discussing the Getty Museum's purchase of a Classical sculpture, done by Greek sculptor Lysippos and dated 4th c. B.C., whereby the Getty Museum paid between $3.5 and $5 million for the piece, 'loaned' the piece to the Denver Art Museum to avoid California taxes, and then encountered a repatriation claim by the Italian government who argued that the sculpture had been stolen by local fishermen in violation of the Italian Antiquities Law of 1939). At the time this article was written, it was unclear whether the Italian government would be successful in their recovery action
90. See H. Wechsler Object ID ready for use Museum News 76 1997a 26 (stating that the AAM/ICOM Board of Directors sanctioned Object ID after its release in 1997)
91. See H. Wechsler Object ID ready for use Museum News 76 1997b 26 (finding that each member of the art industry contributed in some way; for example, pointing out that the conservation community specifically asked for the distinguishing features category to be in the Checklist to distinguish between similar photographic images and descriptions)
92. See Welcome to FindStolenArt.com (2004). Findstolenart.com (explaining that the website may also be used to help auction houses and dealers comply with the code of due diligence), at http://www.findstolenart.com/ Default.asp (last visited April 1, 2004).