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The Return of Cultural Treasures,Used
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From Library Journal In his somewhat technical exposition of the nowtopical subject of cultural property and its handling, Greenfield develops a middleground stance. He presents the legal, historical, and political dilemmas in a moderate fashion, though he still acknowledges that 'in terms of profitability, art theft is ranked second in the world to drug trade.' He further argues that there is sufficient precedent for the 'return' of historically removed treasures, plus those involved in illicit trading. Considering in detail the Icelandic Manuscripts, Elgin marbles, and the Australian aboriginal collections, among other treasures, Greenfield clarifies today's headlines with a discussion of the UNESCO Convention, the U.S. Cultural Property Law, and the U.S. Customs Service strict enforcement of the McClain case. The notes and bibliography alone make this essential for large art and law collections. Mary HamelSchwulst, Towson State Univ., Md.Copyright 1990 Reed Business Information, Inc. Product Description '... an extemely readable and accessible account Greenfield provides extensive information on international and regional regulations. She goes on to offer fascinating insights about the international art market For the lay person who needs insight into the legal side of this matter, this book is invaluable.' Current Anthropology From Publishers Weekly Denmark's restitution to Iceland in 1971 of priceless Icelandic medieval manuscripts stands as an example of enlightened cooperation. But the ownership of many other cultural treasures is hotly disputed, such as that of the Elgin Marblesor Parthenon Marbles, as the Greeks call themnow in the British Museum. In an enlightening, wideangled survey of a global problem, Greenfield, a Cambridge scholar, weighs dozens of claims for the restitution of objects, from the Kohinoor diamond, claimed by India and Pakistan, to African gold relics, Chinese scrolls and Maori carvings. Building on the work of UNESCO and other agencies, Greenfield sets forth criteria for deciding whether a particular artifact should be returned to the country of origin. She also scans the escalating worldwide traffic in stolen art objects, noting that auction houses and dealers are subject to few legal controls. This provocative, richly illustrated study deserves a wide readership. Copyright 1989 Reed Business Information, Inc.
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