Danish Museum returns Roman Bronze Portrait to Türkiye

In August 2023, the Glyptotek initiated archival and archaeological studies and technical analyses of the portrait. The purpose was to investigate whether the portrait originates from the Boubon site in Türkiye, as previous research had assumed, and to provide a more recent scientific basis for processing the request. 

It is partly this research that has been the basis for the museum’s application to the Danish Agency for Culture and Palaces to return the portrait to Türkiye. The museum’s recommendation to deaccession the object is based on both earlier and new research into the provenance of the portrait. The Danish Agency for Culture and Palaces has approved the museum’s recommendation. In addition, the Danish Commission on the Export of Cultural Assets has approved the museum’s application for the item to be separated from the nation of Denmark.    

Repatriating or returning museum objects is a complex task. The provenances of many archaeological artefacts held in museums are often sparsely documented or entirely unknown. Therefore, restitution cases often require thorough research to ensure that the object is returned to its country of origin.   The Glyptotek’s approach to restitution is to consider each case based on a wide range of legal, historical, archaeological, and ethical considerations, which must be weighed individually and assessed together. 

The Glyptotek’s case processing focuses on the specific item rather than on the interests of the collection or individual countries. Based on deep research into the portrait’s provenance, production, and connection with similar bronze artefacts from the area, as well as the ethical aspects of the provenance, the museum wishes to accommodate the request from Türkiye.  

Gertrud Hvidberg-Hansen, Director of the Glyptotek, elaborates on this decision: “Exceptionally strong arguments and scientific documentation are required to separate a work from the museum’s collection. In the case of this object, both criteria were present. Unique archaeological finds from Boubon have been sold illegally to collectors and museums around the world. In recent years, many of these items, especially those held in collections in the United States, have been returned. These factors have contributed to our decision to comply with the restitution request from Türkiye. 
 
Furthermore, the Glyptotek places high importance on the ethical aspects of restitution cases. The Danish Museum Act §33 does not apply to objects acquired before 2003; however, when (as in this case) there are convincing arguments that an object was obtained through e.g. illicit digging and illegal export, the museum considers it important to follow ICOM’s museum ethical guidelines. We are pleased that the case can now be concluded. The process has taken place in constructive dialogue with the Turkish ambassador, who has shown understanding of the museum's desire to produce the research-based documentation.”  

Hakan Tekin, Ambassador of Türkiye to Denmark adds:  
"Türkiye stands as a uniquely privileged country in terms of its cultural heritage. However, this richness, while drawing the attention of those who cherish and value this heritage, unfortunately also attracts circles involved in illegal activities. Protecting cultural heritage requires not only physical measures but also raising awareness on both national and international levels. Our country is making all efforts to this end and we are happy to observe the positive results of these efforts especially in the recent years. We see the decision of the Glyptotek to return the bronze head of Septimius Severus from Boubon, along with the terracottas from Düver to Türkiye, their rightful home, in this context. We achieved this result through a constructive dialogue with the Glyptotek.

We were confident about our arguments from the start and we are glad that we reached a common ground at the end of this process. This development sets another precedent for institutions and collectors all over the world, including in Denmark, that all artifacts acquired with a shady provenance should be returned to their rightful owners. Acting in this direction bolsters the reputation of these institutions. Glyptotek has done the right thing and we celebrate them for their decision. We also look forward to engaging with this distinguished museum for comprehensive projects in the coming years with a view to bringing the rich cultural heritage of our lands to the attention of the Danish public.”   

It has been agreed with Türkiye that the Glyptotek can retain the rights to disseminate and publish the museum’s studies of the bronze portrait, even after the object has been separated from the Glyptotek’s collection and returned to Türkiye. The Glyptotek considers provenance research a very important discipline, and the museum wants to contribute to transparency and knowledge sharing in relation to research in this field.    

The Glyptotek strives to act proactively if the museum becomes aware of objects in the collection that may have been acquired in violation of the museum’s acquisition policy, ICOM’s museum ethical guidelines, the Danish Museum Act, or applicable UNESCO conventions regarding illegal trade in cultural property. 

While researching the bronze portrait, the museum reviewed the provenance of other archaeological objects in the collection that were proven to originate from Türkiye and acquired in the 1970s. 

In this connection, a group of artefacts comprising 48 architectural terracottas from the 6th century BCE from the Düver site in southwestern Türkiye came to the museum’s attention. It is documented that this site was illegally excavated in the 1960s and that archaeological artefacts from this site were illicitly exported and sold on the international art market. The illicit excavation of the site of Düver was already known in the 1970s, when the museum acquired the terracottas. Owing to this problematic provenance and acquisition, the museum has therefore taken the initiative to recommend their return to Türkiye. 

Both the portrait and the architectural terracottas were acquired from the art dealer Robert E. Hecht (1919–2012), who in several other cases has been linked to the illegal export and sale of cultural heritage objects from Italy and Türkiye, among other countries.