From the 1790s until World War I, Western museums filled their shelves with art and antiquities from around the world. These objects are now widely regarded as stolen from their countries of origin, and demands for their repatriation grow louder by the day. In The Compensations of Plunder, Justin M. Jacobs brings to light the historical context of the exodus of cultural treasures from northwestern China. Based on a close analysis of previously neglected archives in English, French, and Chinese, Jacobs finds that many local elites in China acquiesced to the removal of art and antiquities abroad, understanding their trade as currency for a cosmopolitan elite. In the decades after the 1911 Revolution, however, these antiquities went from being “diplomatic capital” to disputed icons of the emerging nation-state. A new generation of Chinese scholars began to criminalize the prior activities of archaeologists, erasing all memory of the pragmatic barter relationship that once existed in China. Recovering the voices of those local officials, scholars, and laborers who shaped the global trade in antiquities, The Compensations of Plunder brings historical grounding to a highly contentious topic in modern Chinese history and informs heated debates over cultural restitution throughout the world.

A provocative reassessment of a popular narrative that connects museums, the antiquities trade, and theft.
 
In this thought-provoking new work, historian Justin M. Jacobs challenges the widely accepted belief that much of Western museums’ treasures were acquired by imperialist plunder and theft. The account reexamines the allegedly immoral provenance of Western collections, advocating for a nuanced understanding of how artifacts reached Western shores. Jacobs examines the perspectives of Chinese, Egyptian, and other participants in the global antiquities trade over the past two and a half centuries, revealing that Western collectors were often willingly embraced by locals. This collaborative dynamic, largely ignored by contemporary museum critics, unfolds a narrative of hope and promise for a brighter, more equitable future—a compelling reassessment of one of the institutional pillars of the Enlightenment.