By:  Mario Mancini

The exhibition “Glories of the Past” was a major event showcasing nearly 200 ancient artifacts from around the world. Among the notable pieces were Neolithic marbles and imposing Roman bronzes. The exhibition’s title appropriately reflected its grandeur. Philippe de Montebello, the then-director of the Metropolitan Museum of Art, described the collection as “a panoply of treasures assembled with relentless perseverance, according to a very personal vision.”

These artifacts were not sourced from a large museum but instead came from a single private collection owned by Shelby White and her husband Leon Levy, who would soon play more significant roles in the museum’s life. The NY Times extensively reported on what transpired next, this article is a summary.

In 1990, White became a Met trustee and later joined the committee that advises the museum on which pieces to acquire. Her influence extended beyond her role as a trustee. White and Levy generously donated $20 million to the Met, resulting in the opening of the Leon Levy and Shelby White Court, a monumental new gallery dedicated to Greek and Roman art. However, the couple’s conduct as collectors has recently faced heightened scrutiny.

Over the past two years, investigators from the Manhattan District Attorney’s office have seized 71 looted artifacts from White’s home. It is important to note that there have been no suggestions that White or her husband knowingly bought stolen antiquities. In fact, investigators later expressed gratitude to White, 84, for her cooperation as the artifacts were returned to various countries, including Yemen, Turkey, and Italy. However, in June 2021, investigators showed up unannounced at White’s Manhattan apartment with a search warrant, discovering numerous antiquities displayed throughout the rooms. Many of these artifacts were purchased from dealers who would later be accused of trafficking in illicit items. The apartment was essentially a museum, with artifacts showcased in nooks and cabinets, enhanced by carefully placed lighting to enhance their appeal.

Not only did investigators seize artifacts from White’s home, but they also took 17 antiquities on loan from her that were exhibited at the Met. The investigators asserted that these objects had also been stolen. One striking example was a Chinese funerary artifact that had been stored in the museum for over 20 years without being displayed. When investigators opened its crate, they found the artifact still covered in dirt, a clear indication of looting according to Matthew Bogdanos, the head of the district attorney’s Antiquities Trafficking Unit.

These seizures dealt a significant blow to White, both financially and reputationally. The seized items were valued at nearly $69 million. Despite her celebrated philanthropy and dedication to preserving the treasures of the past, critics argued that her collecting practices were either naive or careless. Elizabeth Marlowe, the director of the museum studies program at Colgate University, contended that someone at White’s level in the market and with her depth of collecting and prominence at the Met should have known to request proper documentation like export licenses.

While White’s friends and admirers dismissed the criticism, viewing it as unfair, it posed an awkward situation for the museum. The Met itself has faced its own collection-related seizures. In recent weeks, as the Met announced a major review to ensure the absence of looted artifacts in its ancient holdings, White continued to play a significant role within the institution.

Despite the controversies surrounding White, she continues to be involved in the Met. She serves on its acquisitions, buildings, and finance committees, providing advice and guidance. Although she no longer votes as an emeritus trustee, the museum’s collection still contains numerous antiquities donated or lent by White. Furthermore, she was recently appointed to a 12-member task force of trustees responsible for shaping the museum’s collecting practices and cultural property policies.

The museum’s loyalty to White has drawn criticism from cultural heritage experts. While acknowledging her financial support, they question whether a trustee should serve as a model of conduct in line with the museum’s purpose. Patty Gerstenblith, an expert on cultural heritage issues, emphasized that White’s collecting practices do not align with how a museum should pursue knowledge and preserve the historical record.

White has chosen not to be interviewed recently, and her lawyer, Peter A. Chavkin, has responded to inquiries on her behalf. In a statement, Chavkin explained that White and Levy acquired objects “in good faith, at public auction and from dealers they believed to be reputable.” He further highlighted White’s voluntary return of items if their wrongful origins were revealed. However, critics argue that White failed to review the hundreds of artifacts in her possession, even after the dealers she and her husband did business with were accused of handling illicit items.

The Met has acknowledged the need for change and increased attention to provenance research. The museum has implemented stricter measures, now requiring new loans of antiquities to have provenance going back to 1970. While some scholars defend White’s contributions to the arts and her passion for ancient civilizations, others argue that her collecting practices have incentivized looting and undermined the preservation of the archaeological record.

White’s collecting practices have not gone unnoticed. She and her husband faced criticism for accumulating their extensive collection, which exceeded 700 antiquities, starting in the 1970s. During that time, guidelines discouraging the trade of items without sufficient ownership histories were emerging. White and Levy acquired objects with limited provenance, reflecting the era’s prevailing practices. They returned several objects in response to claims of looting, including those traced back to Giacomo Medici, an Italian antiquities trafficker, and Robin Symes, a British antiquities dealer involved in investigations into looted art.