On October 19, 2025, the Louvre Museum was the victim of a spectacular theft: eight historical jewels, estimated at €88 million, were stolen. This event revives the question of protecting and insuring national treasures. Contrary to popular belief, most of the permanent collections of French national museums, like those of the Louvre, are not covered by classic private insurance. Their security relies on a particular logic: the State is its own insurer.
In France, national museums house inalienable and imprescriptible collections, governed by the Heritage Code. These works belong to the State and are not insured by private companies when they are permanently exhibited. The logic is simple: the State takes charge of the risks associated with these assets, including theft, fire, or accidental damage.
In the event of a claim, funding for repairs or restorations is provided directly by the budgets of the institutions concerned or by the Ministry of Culture. There is no special compensation fund, comparable to those used for natural disasters or terrorism. The absence of private insurance does not imply a lack of protection; it simply transfers financial responsibility to the State.
The situation changes when a national asset leaves the national museum. When a painting, jewel, or sculpture is lent to another institution, public or private, in France or abroad, a private “nail-to-nail” insurance policy is taken out.
This insurance covers the work against all risks during transportation to and from the exhibition, all intermediate stays, the exhibition itself, and the return journey, guaranteeing against theft, accidental damage, fires, water damage, and other risks. The insured value is determined by specialized experts based on the state of conservation, rarity, historical significance, and market value. Even objects considered “priceless” can be evaluated to ensure their protection.
For private collections, the insurance strategy is more flexible and tailored to the needs of each private institution and its risks. Three main types can be mentioned:
Insurers assess security measures (alarms, surveillance, armored display cases) to determine the premium amount and coverage level. Collections spread across multiple sites can benefit from risk distribution. Transportation and temporary exhibitions are also insured according to the value and fragility of the works.
French rules are specific but not unique. Abroad, public museums adopt different approaches: some insure their collections, while others rely on the direct responsibility of the institution. In the United States, for example, works exhibited in public museums are not inalienable, and they can sell their works, modifying the protection logic. Insurance modalities depend on the legal framework and the status of collections in each country.
The Louvre theft highlights how complex protecting art is, involving law, finance, technical expertise, and security measures. In France, national collections rely on state self-insurance, while loans and temporary exhibitions require private insurance. Private collections choose their coverage based on their risks and means.
Insuring the priceless requires a subtle balance between cultural value, physical security, and financial protection. Each work, each museum, and each collection adopts an adapted strategy, ensuring that art continues to shine despite the risks.
WTW hopes you found the general information provided here informative and helpful. The information contained herein is not intended to constitute legal or other professional advice and should not be relied upon in lieu of consultation with your own legal advisors. In the event you would like more information regarding your insurance coverage, please do not hesitate to reach out to us. In North America, WTW offers insurance products through licensed entities, including Willis Towers Watson Northeast, Inc. (in the United States) and Willis Canada Inc. (in Canada).
