An Asante gold disc, stolen from the British Museum in 1991 and off the radar for more than a decade, was finally identified in a private collection before being returned. This piece of goldwork, which has been featured in several international exhibitions, now highlights the gaps in traceability and the major ethical challenges facing the art and ethnographic objects market.
Chronology of a Disappearance
It was in October 1991 that the fate of this akrafokonmu—a 21.5-centimeter gold disc with a solar motif, the largest in the series held by the museum—took a dramatic turn. On display at the Museum of Mankind at the time, the object was removed from a wooden display case that had been forced open; a security guard discovered it broken during his lunch break, with a single screwdriver left behind at the scene as evidence of the break-in. Although the British Museum claims to have reported the theft immediately to the authorities, the precious artifact remained missing for more than ten years. Recent investigations by journalist Barnaby Phillips, reported in the British press, have since shed light on this decade of silence.
Wanderings in the Shadows of the Collections
Barnaby Phillips’ investigation sheds light on a surprising journey for a cataloged artifact. As early as 1994, the disc resurfaced in the inventory of Karl-Ferdinand Schaedler, a German collector renowned for his passion for African art. Far from remaining hidden, the object was exhibited and even loaned to prestigious institutions, such as the Museum für Völkerkunde in Vienna. The artifact’s journey continued in 1999, when it was offered at auction at Sotheby’s, where it was acquired by the Indianapolis Museum of Art for a modest sum, thus continuing to circulate in full view of the art world.
The Expert’s Eye: The Turning Point in the Investigation
It took the keen eye of a specialist to break this cycle. It was Doran Ross, curator at the Fowler Museum and a leading expert on Ghanaian art, who made the connection. Noticing the striking resemblance between the piece in Indianapolis and the missing artifact in London, he alerted his British counterparts. According to Apollo Magazine, this formal identification set the repatriation process in motion, leading to the work’s physical return to London in late 2002.
Museum Diplomacy and Gray Areas
The restitution took place within a discreet diplomatic framework. Since the Indianapolis Museum had acquired the object in good faith, the British Museum opted for a strategy of regularization via an “official loan” before formalizing the permanent return. While the institution confirms that the object has been returned to its storage, questions remain regarding the provenance checks (due diligence) conducted during the auction.
Barnaby Phillips raises a crucial question: “What has never been explained is what became of the Ashanti gold—or at least its absence for more than ten years.” The fact that the coin could be traded and exhibited without raising any red flags points to a systemic lack of transparency at that time.
Cultural Heritage and the Duty of Care
Beyond this specific incident, this episode resonates with the pressing issue of cultural heritage restitution. These objects, often seized by military forces during the Anglo-Ashanti conflicts of the 19th century, hold profound spiritual significance for the Ashanti people. Recently, loan and repatriation initiatives led by the Victoria & Albert Museum and the Fowler Museum signal a commitment to reevaluating the history of colonial collections.
For the British Museum, which has announced plans to digitize its entire collection within five years to secure its inventory, this case serves as a reminder that protecting cultural heritage requires constant vigilance. It underscores the need for seamless international cooperation and rigorous ethical standards on the part of auction houses to do justice to history and the artworks.