The Art Institute of Chicago recently announced the return of a sculpture to Nepal, which had been part of its collection for over 25 years. The press release notably omitted that the sculpture had been donated by a wealthy Chicago benefactor.
This omission has sparked concerns over the art collection of Chicago philanthropists Marilynn and James Alsdorf, now deceased, and the reluctance of the Art Institute to return certain works housed in the Alsdorf Galleries despite compelling claims for repatriation by various countries.
The 12th-century statue, “Buddha Sheltered by the Serpent King Muchalinda,” stands at about 17.5 inches and was confirmed by the Institute to have been stolen from Nepal’s Kathmandu Valley. Details on the theft or the Alsdorfs’ acquisition remain unclear.
ProPublica and Crain’s Chicago Business identified over a dozen artworks in 2023 claimed by other nations, including Nepal, that were once part of the Alsdorfs’ collection.
The museum maintains a dedicated webpage for deaccessioned works, though it lacks ownership history, specifically excluding mention of the Alsdorf connection in this instance.
Melissa Kerin, art history professor and ethics director at Washington and Lee University, remarked that by returning the Buddha, the Institute appears proactive while avoiding transparency regarding donor involvement.
James Alsdorf, formerly the museum board’s chair and a significant benefactor along with Marilynn, contributed over $20 million to the museum. Marilynn Alsdorf was a trustee and displayed their collection at the museum, which later saw the opening of the Alsdorf Galleries.
Controversial aspects of the Alsdorfs’ collection have existed for years; notably, in the 1970s, a claim for a Thai artifact resulted in its return after public protest. Marilynn Alsdorf faced a legal challenge in 2002 regarding a Picasso painting allegedly looted during World War II, settling the case for $6.5 million while maintaining her innocence.
Jeffrey Alsdorf, president of the Alsdorf Foundation, expressed a desire for a resolution that satisfies all parties regarding the piece’s repatriation.
A Nepali embassy official confirmed the transfer of the Buddha to Nepali authorities, with museum officials present to discuss ongoing collaborations.
The Art Institute emphasized its commitment to provenance research and roles dedicated to this aspect, having returned multiple pieces to their original countries recently. The Buddha’s new data prompted engagement with Nepal to facilitate its return.
Distinct from the Buddha’s repatriation is the Taleju necklace, another contested artifact. The necklace remains on display due to unresolved provenance challenges, with ongoing dialogue between the museum and Nepali officials.
Sanjay Adhikari of the Nepal Heritage Recovery Campaign criticized the Institute’s burdensome process, stressing the need for the museum to demonstrate the Taleju necklace’s rightful ownership.
Erin Thompson, an expert in art crime, underscored the importance of preserving an object’s history for academic scrutiny, cautioning against erasing records for reputational concerns.
The Art Institute, adhering to its policies, did not disclose ownership histories for deaccessioned items—a practice some art historians have criticized for impeding provenance research.
The investigation spotlighted the Taleju necklace, a sacred object dedicated to the Hindu goddess Taleju by a 17th-century Nepali king. Despite controversy over its public exhibition, it remains displayed within the Alsdorf Galleries, amidst broader frustrations around restitution efforts for cultural heritage.
