Sidney and Lois Eskenazi Museum of Art

Ancient Art Provenance Research

Historical Context

The provenance of a work of art is a record of its ownership history from the time of its creation to the present. The provenience of a work of art (a similar term) refers to its place of origin or find spot; as such, it is part of its overall provenance. For ancient art objects, an excavation location or a specific archeological findspot provides essential information on an object’s meaning, function, date, and initial owner. While knowing the original location is rare, research into the biographies of former owners, the history of the art market, and evolving tastes provides valuable insight into the life of a particular object and understanding of broader histories and narratives.

Unfortunately, ancient art and cultural heritage materials have been subject to illicit excavation, looting, and illegal trafficking throughout history—a serious problem that continues today. Provenance research is very important as a means of combating these deplorable activities.

Guidelines for addressing antiquities provenance issues were established during the United Nations Educational, Scientific, and Cultural Organization (UNESCO)’s Convention on the Means of Prohibiting and Preventing the Illicit Export, Import and Transfer of Ownership of Cultural Property (1970). The American Alliance of Museums (AAM) and the American Association of Museum Directors (AAMD) have also been instrumental in developing professional standards, including the influential AAMD Report on the Acquisition of Archaeological Materials and Ancient Art (2008).

It is unusual to have a complete history of ownership for an object, especially objects that are hundreds or thousands of years old. Documents may be lost or undiscovered, or objects may have been exchanged without the documentation expected today. The process of discovering provenance is further complicated by the fact that objects frequently traveled in ancient times.

Research at the Eskenazi Museum of Art

The Eskenazi Museum of Art is committed to provenance research as a means of raising awareness for—and in support of an end to—the trafficking of stolen antiquities and looting of cultural sites. Such research promotes important discussion around the ancient art objects in our care.

The Eskenazi Museum follows the guidelines set forth by the UNESCO Convention, along with the implementing provisions adopted by the ratifying states of the UNESCO Convention. The museum also adheres to the additional guidelines developed by AAM and AAMD. The Eskenazi Museum does not knowingly acquire any object that was not already outside of its country of discovery before 1970, that was obtained in violation of the laws of the United States, or that has been illegally exported from its country of discovery.

Provenance research in antiquities at the Eskenazi Museum began in 2012, following in the footsteps of the WWII–era research project that was well-established by that time. The museum is committed to conducting ongoing research and presenting as much known information about each work of art as is possible. The Eskenazi Museum’s goal is to continuously add provenance information to the Collections Online website for all ancient art objects.

Further Resources

Suggestions for Further Reading

• Brodie, Neil, Morag Kersel, Christina Luke, and Kathryn Walker Tub, eds. Archaeology, Cultural Heritage and the Antiquities Trade. Gainesville, FL: University Press of Florida, 2006.
• Carpino, Alexandra Ann. Collecting and Collectors from Antiquity to Modernity. Boston: Archaeological Institute of America, 2018.
• Cuno, James. Who Owns Antiquity? Princeton, NJ: Princeton University Press, 2008.
• Darraby, Jessica L. Art, Artifact, Architecture and Museum Law. Eagan, MN: Thomson Reuters/West, 2008.
• Feigenbaum, Gail, and Inge Reist, eds. Provenance: An Alternative History of Art. Los Angeles: Getty Research Institute, 2012.
• Hopkins, John North, Sarah Kielt Costello, and Paul R. Davis, ed. Object Biographies: Collaborative Approaches to Ancient Mediterranean Art. Houston: The Menil Foundation, 2021.
• La Follette, Laetitia. “Looted Antiquities, Art Museums and Restitution in the United States since 1970,” Journal of Contemporary History 52, no. 3 (July 2017): 669–87.
• Mackenzie, Simon, Neil Brodie, and Donna Yates. Trafficking Culture: New Directions in Researching the Global Market in IIlicit Antiquities. New York, NY: Routledge, 2020.
• Saunders, David, Judith Barr, and Nicole Budrovich, “The Antiquities Provenance Project at the Getty," Observations of the Collections Analysis Collaborative 1 (2016): 1–8.
• Tompkins, Arthur, ed. Provenance Research Today: Principles, Practice, Problems. London, Lund Humphries Publishing, in association with International Foundation for Art Research (IFAR), 2020.
• Watson, Peter, and Cecilia Todeschini. The Medici Conspiracy: The Illicit Journey of Europe's Looted Antiquities. New York: Public Affairs, 2007.
• Yeide, Nancy H., Konstantin Akinsha, and Amy L. Walsh. The AAM Guide to Provenance Research. Washington, DC: American Association of Museums, 2001.

Online Databases and Resources

• Association of Art Museum Directors (AAMD) Guidelines on the Acquisition of Archaeological Material and Ancient Art, 2008 (revised 2013)  https://aamd.org/sites/default/files/document/Guidelines%20on%20the%20Acquisition%20of%20Archaeological%20Material%20and%20Ancient%20Art%20revised%202013_0.pdf
• Getty Research Institute, Collecting and Provenance Research Portal  https://www.getty.edu/research/tools/provenance/index.html
• International Foundation for Art Research (IFAR): Provenance Guide  https://www.ifar.org/provenance_guide.php
• UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property, 1970  https://en.unesco.org/fighttrafficking/1970