“Finders, keepers” has long overruled the common-sense notion that what’s dug up should belong to the country where the digging occurred. So archaeological finds have often ended up in the museums of the countries that organized an excavation, even if they’re on the other side of the world. But that’s not the only way that things from one country end up in another: looting of archaeological sites has increased in recent decades, with objects ending up in the illegal art trade. Organizations such as UNESCO, Interpol, the International Council of Museums, and the [American] Association of Art Museum Directors are all attempting to stop the plunder.
The 1970 UNESCO Convention established a documented provenance benchmark, meaning all artworks purchased after this date need a complete record of ownership. For artworks whose provenance has been established but cannot be substantiated, a list was set up to allow the country of origin to file a claim for returning the work. Mia put these clappers on the list, as there is no precise date of acquisition or documentary confirmation of their provenance prior to 1990. Egypt could claim them if proof emerges that they were illegally obtained.