A Code of Ethics for Curators, American Association of Museums Curators Committee (2009). (https://www.aam-us.org/wp-content/uploads/2018/01/curcomethics.pdf). (Excerpt) "... specifically, curators must establish intellectual control of the collection under their care. They ensure that a record of each object in the collection is prepared at the time of acquisition and that the record and the object are systematically organized and retrievable. They conduct research on and record the provenance of all objects in or offered to the collection, and they are responsible for the accuracy of the documentation, whether prepared by themselves or others. Curators must be aware of all applicable national and international laws and never knowingly acquire stolen, illegally exported, or improperly collected objects."
American Anthropological Association Code of Ethics (https://s3.amazonaws.com/rdcms-aaa/files/production/public/FileDownloads/pdfs/issues/policy-advocacy/upload/ethicscode.pdf). "The purpose of this Code is to provide AAA members and other interested persons with guidelines for making ethical choices in the conduct of their anthropological work. Because anthropologists can find themselves in complex situations and subject to more than one code of ethics, the AAA Code of Ethics provides a framework, not an ironclad formula, for making decisions."
The Art Loss Register (http://www.artloss.com/) began compiling art theft information in 1976. It is considered the largest private computerized database of lost and stolen art, antiques and collectibles in the world. One must request a search of its registers to determine if a particular item is listed as stolen, missing, subject to a dispute , or has reported authenticity issues. It includes The Gun Loss Register, and The Watch Register. It offers Provenance Research services for specialist World War II-era and other provenance research into the history of a work of art. The Art Loss Register also offers free professional, specialist support for all domestic and international law enforcement agencies working to reduce the global trade in fraudulent, stolen and looted art. Also offers a pre-loss service for owners so they can be notified if items that have gone missing from their collection appear in the market. The database shows examples of the works the service has recovered.
Association of Art Museum Directors (AAMD) Object Registry (https://aamd.org/object-registry). A searchable database consisting of three parts: Registry of New Acquisitions of Archaeological Material and Works of Ancient Art, Resolutions of Claims for Nazi-Era Cultural Assets, and Safe Haven Objects. Registry of Archaeological Material and Works of Ancient Art provides information on those works that fall in this category that were acquired by member collections after 2008. Resolutions of Claims for Nazi-Era Cultural Assets provides information on the resolution of formal claims made to AAMD member museums regarding works of art believed to have been stolen by the Nazis between 1933-1945. The information in the registry has been provided by AAMD’s members in furtherance of the Report of the AAMD Task Force on the Spoliation of Art during the Nazi/World War II Era (1933-1945). The registry lists objects restituted and settlements made since June 4, 1998, the date the report was adopted. AAMD has issued Protocols for Safe Havens for Works of Cultural Significance from Countries in Crisis, to help safeguard irreplaceable works of art and archeological materials that are currently in danger of destruction. The Protocols provide a framework for museums to provide safe havens for works that are at risk because of violent conflict, terrorism, or natural disasters. Under the Protocols, owners/depositors whose works are at risk of damage or destruction can request safe haven at an AAMD member museum where the works will be held until they can be safely returned.
Holocaust-Era Assets (https://www.archives.gov/research/holocaust). "The Holocaust-Era Assets web pages provide a better understanding of the record holdings of the National Archives and Records Administration (NARA) relating to the looting, locating, recovering, and restituting Holocaust-Era assets. Substantive research interest in Holocaust-Era Assets began in 1996 with various issues related to Swiss dormant bank accounts and gold looted by Nazi Germany. Within several years interests expanded to include, among other things, looted cultural property (including books, archives, manuscripts, and Jewish communal property), looted art works, unpaid and unclaimed insurance policies and issues surrounding slave and forced labor.
NARA compiled and publsihed a finding aid to relevant records at the National Archives at College Park and working with art provenance researchers to identify and microfilm key series of records. We also became actively involved in the implementation of the Nazi War Crimes Records Disclosure Act of 1998. This law required Federal agencies, including NARA, to review and recommend for declassification records relating to Nazi war crimes, Nazi war criminals, Nazi persecution, and Nazi looted assets. Overseeing this activity was The Nazi War Crimes and Japanese Imperial Government Records Interagency Working Group ( IWG).
Interpol- The Issues--Cultural Property
An overview of cultural heritage crimes, including an explanation of Interpol's fight against cultural heritage grime, a database of Stolen Works of Art, Object ID standards, an overview of related United Nations Security Council and General Assembly Resolutions. Also provides related news articles.
Art Law: Recent Developments (Jan., 2021).
Current events of the art world. Sponsored by John Silberman Associates, a well-known firm in the art world. Posts are provided by their art lawyer, Donn Zaretsky. Covers art and cultural property issues.
Center for Art Law: "At the Crossroads of visual arts and the law."
Clancco: The Source for Art & Law Since 2005. Primarily focuses on Art Law but also covers cultural property.