13–60.\): Euphronios Vase (or Sarpedon Krater), signed by Euxitheos as potter and Euphronios as painter, c. John Merryman “A Licit international trade in cultural objects” International Journal of Cultural Property 4 1995: pp. (Albuquerque: University of New Mexico Press, 1999), p.
Kocszka “The need for enforcing regulations on the international art trade” in The Ethics of Collecting Cultural Property: Whose Culture? Whose Property?, ed. “Dealing with the dealers and tomb robbers: The realities of the archaeology of the Ghor-es-Safi in Jordan” in Illicit Antiquities: The Theft of Culture and the Extinction of Archaeology, ed. Barker (Washington, DC: SAA Press, 2012), p. “The economics of the looted archaeological site of Bäb edh-Dhrä: A view from Google Earth” in All the King’s Horses: Essays on the Impact of Looting and the Illicit Antiquities Trade on Our Knowledge of the Past, ed. See the helpful table provided by Neil Brodie and Daniel Contreras. The Rape of Mesopotamia: Behind the Looting of the Iraq Museum (Chicago: University of Chicago Press, 2008), p. “Has the market in antiquities changed in light of recent legal developments?” in The Futures of Our Pasts: Ethical Implications of Collecting Antiquties in the Twenty-first Century, ed. When the Met bought it in 1972 for more than 1 million. This process is experimental and the keywords may be updated as the learning algorithm improves. The vase  known as a krater, once used to mix wine and water  was painted by Euphronios, considered the greatest of Greek vase painters. These keywords were added by machine and not by the authors. If there is any difference marking archaeological material (aside from the difference that makes some material saleable and other material mere detritus), it is small enough to be poo-pooed: as the Metropolitan Museum’s director, Philippe de Montebello once put it, “How much more would you learn from knowing which particular hole… came out of? Everything is on the vase.”‘ 1 Keywords Our universal museums, in turn, collect, study, and display both works of art and antiquities, including antiquities that were excavated, generally displaying the latter as if they were works of art.
ancient Greek pot, commonly referred to as the Sarpedon Krater or Euphronios vase. So, for example, while we do at least sometimes distinguish “antiquities” from “antiques” in everyday speech, we very seldom distinguish “archaeological materials” from either, and under “antiquities” we include all sorts of ancient artifacts and artworks that were never buried, forgotten, and subsequently excavated. One of the most notorious repatriations is that of a 6th century B.C.E. The underlying assumption, that archaeological materials and artworks are the same kind of things, is deeply embedded in our language and our cultural institutions. As the title of this volume indicates, the topic of archaeological looting is usually thought of as a subset of the larger category of art crime, analyzable using the same general approaches as those used to describe and model the theft of artworks.
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