Art theft, also known as artnapping, involves the illicit removal of paintings, sculptures, and other visual art pieces from public or private places such as galleries and museums. These stolen artworks often re-emerge on the black market, either sold outright or used as security for loans. Sadly, the recovery rate for such stolen art is quite low, with only about 10% being retrieved. In response, several countries have established specialized police units tasked with tackling both art theft and the unlawful circulation of these irreplaceable items. The history of art heists is marked by a number of high-profile incidents. Perhaps one of the most notorious was the case of the Mona Lisa, which was temporarily lost to the Louvre in 1911 when Vincenzo Peruggia, an employee, spirited it away. More recently, in 2004, Edvard Munch's The Scream was taken from the Munch Museum, fortunately being recovered two years later. Notably, the largest art theft in terms of value occurred in Boston's Isabella Stewart Gardner Museum in 1990, where thieves made away with 13 works collectively valued at about $500 million—the mystery of which persists to this day. History also records massive theft operations, notably the Nazi plundering throughout Europe during the Second World War, and more recently, Russia's appropriation of Ukrainian art during the 2022 invasion. Art thieves typically target pieces based on their light weight and monumental value, with some artworks fetching millions despite their manageable physical size. Despite formidable security in leading museums, numerous collections with multimillion-dollar artwork rely on rudimentary protection, which leaves them vulnerable. Thieves often select pieces not just for their intrinsic value or the renown of the artist but based on their personal preference or familiarity with the work. These criminals, however, face considerable obstacles when attempting to profit from their ill-gotten gains. The most recognized and treasured artworks are almost impossible to sell without arousing suspicion, as buyers are likely

Shenfield, nestled within the Borough of Brentwood in Essex, England, is a suburban area with a quaint village charm. As of 2020, its population stood at 5,396, reflecting a community that, despite its growth, retains a touch of its historical roots. The history of Shenfield stretches back to Roman times, with its location on the ancient Roman road connecting London and Colchester. This road is known today as the A1023. The village has historical significance, having been mentioned since the time of Edward the Confessor. It boasts an old church and the Green Dragon pub, which are landmarks of its rich heritage. Notably, in the mid-17th century, Nathaniel Ward, a Puritan clergyman and respected author, served as the minister of the Shenfield church until his passing. In the late 19th century, Shenfield was depicted in John Marius Wilson's Imperial Gazetteer as a parish with a sizeable area and numerous residences, with a population that had steadily increased through the mid-1800s. The village was recognized for its subdivided property and the historical manor of Fitzwalters, tied to the tradition of presenting gilt spurs at royal coronations. Roman artifacts discovered in the area highlight its ancient past. The community functioned as a civil parish until 1934 when it was mostly integrated into Brentwood, with a portion becoming a part of Mountnessing. Several decades prior to this change, Shenfield was described as having a much smaller population of 3,501. In terms of geography, Shenfield is situated a mere mile from the heart of Brentwood. Existing alongside this residential pocket are industrial zones and a bustling shopping district. The parish church, St Mary the Virgin, and the local primary school, St Mary's, serve as central points within the community. The adjacent town of Hutton has grown to the point where it is largely considered part of Shenfield's urban spread.

The concept of repatriation involves the return of cultural artifacts, often art pieces that are ancient or stolen, back to their original countries or to their rightful owners or their descendants. The objects at the center of repatriation disputes can be quite diverse, ranging from sculptures and paintings to historical monuments and even human remains. They are typically acquired under contentious circumstances, including as spoils of war or during periods of imperialism and colonialism. Throughout history, conquering forces have often pilfered the cultural treasures of the vanquished, a practice that dates all the way back to antiquity. One striking early example is the Stele of King Naram-Sin of Akkad, looted over three millennia ago and now housed in the Louvre in Paris. The upheaval of the Napoleonic Wars brought with it extensive looting of art, and among the artworks seized by French forces, many were eventually returned, such as the Horses of Saint Mark to Venice, after Napoleon's downfall and the subsequent peace treaty. The 21st century has seen vigorous debate over the return of artifacts taken in colonial contexts. A notable French report published in 2018 on the restitution of African cultural heritage has intensified these discussions, spotlighting the moral responsibilities of museums. These conversations are leading to an era where repatriation is being considered not just from a legal standpoint but as an ethical imperative.