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Tina Brown:

“Sharon Waxman has written a compelling page turner about the world of antiquities and art-world skulduggery. She manages to combine rigorous, scholarly reporting with a flair for intrigue and personality that gives Loot the fast pace of a novel. I enjoyed it immensely."

Christopher Hitchens:

“Sharon Waxman’s Loot is the most instructive as well as the most intelligent (and the most entertaining) guide through the labyrinth of antiquity and the ways in which the claims of the departed intersect with the rights of the living.”

Douglas Preston, author of The Monster of Florence:

"Loot is a riveting foray into the biggest question facing museums today: who should own the great works of ancient art? Sharon Waxman is a first-rate reporter, a veritable Euphronios of words, who not only explores the legal and moral ambiguities of the conflict but brings to life the colorful -- even outrageous -- personalities facing off for a high noon showdown over some of the world’s iconic works of art. Vivid, witty, and delightful, this book will beguile any reader with an interest in art and museums."

Lucette Lagnado, author of The Man in the White Sharkskin Suit:

“Sharon Waxman approaches her subject with the passion of a great journalist and the rigor of a scholar. It may never again be possible for some of us to walk down the halls of the Louvre or the British Museum or the Metropolitan without a vague sense of disquietude, a frisson of wonder about the provenance of some of their showcase works of ancient art.”

Karl E. Meyer, author of The Plundered Past and co-author of Kingmakers: The Invention of the Modern Middle East:

"Sharon Waxman’s Loot is indispensable for everyone concerned with the illicit trade in smuggled antiquities. She exposes the self-serving humbug that too often afflicts both affluent possessors and righteous nationalists and shows that we all have a stake in getting an honest account of how great objects came to rest in our grandest museums."

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July 28, 2007

The Human Cost

Marion I spoke briefly by phone yesterday to Marion True, the former Getty curator now dangling in the legal winds in Italy and Greece. And I spoke at great length to her friends, dotted around the island. Every story has two sides. Yesterday I heard the story of a much respected, widely beloved scholar who devoted 23 years of her career to improving the Getty’s poor reputation in the museum world by aggressively promoting scholarship, funding conservation all over the ancient world (the Sphinx, for example, in Egypt), giving poorly-paid Greek archeologists grants to study at the Getty institute, holding colloquia like the one to investigate the authenticity of the Getty’s disputed kouros (bought before her time). Her acquisition decisions were reviewed by a scholarly steering committee and approved by the museum director. It was True, they say, who pushed the Getty trustees to announce they would stop buying antiquities in the mid 1990s, because she felt it fed the smuggling trade (her critics say the Getty conveniently did this only after acquiring the Fleischmann collection, a largely unprovenanced group of treasures). Now, the friends say, she has been hung out to dry. That much appears to be true. The Getty is paying for her team of 5 lawyers, but have urged her to keep quiet and not defend herself. Her friends say the Getty’s aim is to protect the Getty, not True. It is a tragic tale, however you slice it: either the insidious corruption of a Harvard-educated, lover of history by the prevailing norms of a see-no-evil antiquities trade. Or the public crucifixion of a competent curator who played by the rules – and the rules lived in a grey zone -- and then found herself in the cross-hairs when the rules changed to black and white. No one in Paros, even those who don’t associate with True, think there is any substance to the charge that she had looted antiquities in her Paros home. And yet there are looted antiquities in the homes of wealthy Greeks, all over the country, who are essentially untouchable. I have been thinking a lot of what it must feel like to be Marion True, of the crushing of an individual when institutions collide. Is Marion True corrupt, or is the entire system corrupt? Her friends say she has, at points, been suicidal. There is a visible human cost to the tectonic shifts in the world of patrimony and cultural identity.