Showing posts with label "toxic" antiquities. Show all posts
Showing posts with label "toxic" antiquities. Show all posts

April 12, 2015

An Updated Analysis of What Remains of Nimrud's NorthWest Palace of Ashurnasirpal II


Photo by Mustafa Al Najjar
As news of the Nimrud explosion video produced by Daash, ISIL, Deash, ISIS, Daaesh, Islamic State gets press time.  Rearchers and journalists are beginning to comment on the missing chunks and slices of the Assyrian reliefs seen from the video's imagery of the North-West Palace of Ashurnasirpal II.  Social Media has been abuzz with speculation that these pieces may have been removed in advance of the explosion, for sale on the illicit antiquities market.   While this might partially prove to be  true, it is premature to speculate on this before cross referencing and doing so just adds to the shock and horror propaganda the militants want to demonstrate.

Sam Hardy has excellent Day One analysis of the attack on Nimrud as does Paul Barford who asks when this video was made.

A new PDF report analyzing relief and object damage was published by Simone Mühlon on April 15, 2015 and can be downloaded here

Assyrian reliefs, stone slaps and epigraphic remains in the form of cuneiform texts can also be found in private and museum collections throughout the world.  ARCA has listed a fairly comprehensive listing of the 76 known public collections and 6 private collections which contain material culture from this archaeological site.
  
 Museums

Abegg Foundation, Bern
Amherst College, Amherst
Archäologisches Institut und Archäologische Sammlung der Universität Zürich, Zurich
Arkeoloji Müzeleri, Istanbul
The Art Institute of Chicago, Chicago
The Art Museum, Princeton University
Arts & Culture Centre, Memorial University
Ashmolean Museum, Oxford
Australian Institute of Archaeology
Bhau Daji Lad Museum, Mumbay, India (formerly Victoria and Albert Museum)
Bowdoin College, Brunswick, Maine
The British Museum, London
Brooklyn Museum, Brooklyn,
Burrell Collection. Art Gallery and Museum, Glasgow
Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbay, India (formerly Prince of Wales Museum of Western India)
Christ Church College, Oxford
Chrysler Museum of Art, Norfolk
Cincinnati Art Museum, Cincinnati
Detroit Institute of Arts, Detroit
Fitzwilliam Museum, University of Cambridge
Fleming Museum, University of Vermont
Fogg Art Museum, Harvard University
Glencairn Museum, Academy of the New Church, Bryn Athyn
Hood Museum, Dartmouth College
Idemitsu Museum of Arts, Tokyo
Kalamazoo Valley Museum, Michigan
Kimbell Art Museum, Fort Worth
Los Angeles County Museum of Art (LACMA), Los Angeles
Louvre Museum, Paris
Magdalen College, Oxford
Manchester University, Museum, Manchester
Memorial Art Gallery, University of Rochester
Metropolitan Museum of Art, New York
M.H. De Young Museum, San Francisco
Miho Museum, Kyoto
Minneapolis Institute of Arts, Minneapolis
Mosul Museum, Mosul, Iraq (Condition unknown)
Middlebury College, Middlebury
Mount Holyoke College, South Hadley
Museo Civico di Archeologia Ligure, Genoa
Museo Barracco, Rome
Museo Gregoriano Egizio, Rome
Musées royaux d’Art et d’Histoire, Brussels
Musei Vaticani, Rome
Museum and Art Gallery, Bristol
Museum Calouste Gulbenkian, Lisbon
Museum für Kunst und Gewerbe, Hamburg
Museum of Art, Cleveland
Museum of Fine Arts, Houston
Museum of Fine Arts, Boston
Narodowe w Warszawie, Warsaw
National Car Museum of Iran, Tehran, Iran
National Museum of Iraq, Baghdad (Condition unknown)
Nationalmuseet, Copenhagen
National Museums Scotland, Edinburgh
Ny Carlsberg Glyptotek, Copenhagen
Oriental Institute, University of Chicago
Royal Ontario Museum of Archaeology, Toronto
Saint Louis Art Museum, St. Louis
Skulpturensammlung, Dresden
Staatliches Museum Ägyptischer Kunst, Munich
State Hermitage Museum, St. Petersburg
Swedish National Museum, Stockholm
Tyndale House, Cambridge
University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia
Virginia Museum of Fine Arts, Richmond
Virginia Protestant Episcopal Theological Seminary, Alexandria
Vorderasiatisches Museum, Berlin
Wadsworth Atheneum, Hartford
Walters Art Museum, Baltimore
William Rockhill Nelson Gallery of Art, Kansas City
Williams College Museum of Art, Williamstown
Weingreen Museum of Biblical Antiquities, Trinity College
Worcester Art Museum, Worcester
Yale University, New Haven

Private Collections:
Anonymous (3)
Fred Elghanayan, New York,
Collection Merrin, New York
Collection Samuel Josefowitz, Lausanne

A joint project of the University of California, Los Angeles, the University of Oxford, and the Max Planck Institute for the History of Science, Berlin has completed a comprehensive list of the known collection items with corresponding drawings to the Assyrian reliefs where information has been available.  This online reference may be useful in determining more details of what was gone before vs. what might have been cut away for illicit sales prior to the site's detonation.

Another excellent research project for review materials is the  "Materialities of Assyrian Knowledge Production: Object Biographies of Inscribed Artefacts from Nimrud for Museums and Mobiles".   Funded by the UK Arts and Humanities Research Council (AH/K003089/1) it was based at the Department of History and Philosophy of Science (HPS), University of Cambridge, UCL, the British Museum's Department of the Middle East, and the Babylonian Section of Penn Museum

In final comment, this might be an opportune time to underscore that the site does live on, primarily in the hearts and souls of the people of Iraq, but also tangibly, albeit widely dispersed. 

By Lynda Albertson







April 2, 2015

Honolulu Museum of Art and US Immigration and Customs Enforcement Agents Collaborate: A model for the Repatriation of Looted Art

By Lynda Albertson

In 2014 Homeland Security Special Agent Brenton Easter, part of the U.S. Immigration and Customs Enforcement, or ICE, contacted the Honolulu Museum of Art having determined that a 2000-year-old terra cotta rattle may have been looted and tied to the antiquities looting case against New York art dealer Subhash Kapoor.  

Kapoor has long been suspected of being
at the heart of an international antiquities smuggling operation which allegedly has sold illicit artifacts, either directly to or through donors, to major museums around the world.  The effect of this one trafficking network has had long-reaching impact to collections at some of the worlds greatest art museums including the Art Institute of Chicago, Boston’s Museum of Fine Arts, the Los Angeles County Museum of Art, the National Gallery of Art in Australia, the Norton Simon Museum, the Metropolitan Museum of Art, the Toledo Museum of Art, and now the Honolulu Museum of Art.
Proactive in his approach Honolulu Museum of Art Director Stephan Jost and his staff worked to identify seven suspect works of art from within the Hawaiian museum’s collection.  Five objects were purchased directly from Subhash Kapoor, one was given to the museum by the dealer as a gift, and the seventh piece was sold by Kapoor to a private investor who subsequently donated it to the museum's collection. 
In a taped video interview on KITV which can be found here Director Stephan Jost is heard to say They don't belong here. They're stolen,"  "On one hand I hope they find a great home someplace. On the other hand, we've had them on view here almost 25 years. Lots of people loved them. The bottom line is they don't belong here."
This quote from a museum head stands in stark contrast to recent remarks made by James Cuno, president of the J. Paul Getty Trust, which operates the Getty Museum.  Cuno has made strong statements in both the New York Times and the quarterly magazine Foreign Affairs arguing that wholesale repatriation to source countries who cannot adequately protect their heritage is not in the best interest of the public as a whole.   In the FA article Cuno stated that "Cultural property should be recognized for what it is: the legacy of humankind and not of the modern nation-state, subject to the political agenda of its current ruling elite."

In the New York Times article Mr. Cuno was interviewed to have said “Calamity can happen anywhere, but it is unlikely to happen everywhere at the same time,” “I say ‘distribute the risk,’ not ‘concentrate it.’ ” when referring to recent issues in areas impacted by Da'ish and other profiteering looters in countries plagued by civil unrest and war.

Gary Vikan, former director of the Walters Art Museum in Baltimore, told the New York Times journalists that given the extent of the conflicts in places like Syria, Iraq and northern Africa museums should take on a conservative stance on repatriation, stating  “I think this will put an end to the excess piety in favor of the repatriation model.”

While the ultimate repatriation of the objects photographed here, taken by AP photographer and journalist Jennifer Sinco Kelleherbeing packed up for their departure from the Honolulu Museum of Art, are not headed to countries currently embroiled in civil war, the contrast between each of these museum director's stance on their collections is something worth underscoreing.

Should museums ethically stand behind the return of looted antiquities in their collections on a county conflict case by case basis as Mr. Cuno and Mr. Vikan believe?  

In on Op/Ed piece this week Franklin Lamb, author of "Syria's Endangered Heritage, An international Responsibility to Protect and Preserve" has said he has not seen widespread support for the delay of repatriation in cases in Syria.  He has stated that  "Syrian officials and scholars interviewed [by] me overwhelming reject this point of view as does the Syrian public. Some have noted that using the destructive frenzy by Islamic State extremists to lobby against repatriation seeks to justify discredited practices and reeks of neo-colonialism."

July 31, 2013

Christos Tsirogiannis on "Something is Confidential in the State of Christie's" (The Journal of Art Crime, Spring 2013)

Greek forensic archaeologist Christos Tsirogiannis writes "Something is Confidential in the State of Christie's" in the Spring 2013 issue of The Journal of Art Crime.
This article is a report on the appearance of "toxic" antiquities, offered by Christie's at auctions in London and New York during 2012, which have now been identified in the confiscated archives of the convicted dealers Giacomo Medici and Robin Symes. The research aims to reconstruct the true modern story and full collecting history of seven antiquities: a bronze board, a terracotta ship, a pair of kraters, a terracotta statue of a boy, a kylix, and a marble head. New evidence in each case presents a different version of the collecting history from that offered by Christie's. This paper, going in order through the Christie's 2012 antiquities auctions, demonstrates that in many instances the market uses the term "confidentiality" to conceal the identities of its disgraced members, and to put an end to academic or other research for the truth. It also reveals that most of the dealers, galleries, collectors and auction houses listed by Christie's as previous owners have been involved in several other cases of illicit antiquities.
Christos Tsirogiannis
Christos Tsirogiannis studied archaeology and history of art in the University of Athens, then worked for the Greek Ministry of Culture from 1994 to 2008, excavating throughout Greece and recording antiquities in private hands. He voluntarily cooperated with the Greek police Art Squad on a daily basis (August 2004 – December 2008) and was a member of the Greek Task Force Team that repatriated looted, smuggled and stolen antiquities from the Getty Museum, the Shelby White/Leon Levy collection, the Jean-David Cahn AG galleries, and others. Since 2007, Tsirogiannis has been identifying antiquities in museums, galleries, auction houses, private collections and museums, depicted in the confiscated Medici, Becchina and Symes-Michaelides archives, notifying public prosecutor Dr Paolo Giorgio Ferri and the Greek authorities. He will shortly receive his Ph.D. at the University of Cambridge, on the international illicit antiquities network viewed through the Robin Symes–Christos Michaelides archive.

Mr. Tsirogiannis writes in the introduction to his article:
In 1995, the Italian and Swiss authorities confiscated the Giacomo Medici archive in the Free Port of Geneva (Watson & Todeschini 2007:20). Later, in 2002, the same authorities confiscated the Gianfranco Becchina archive in Basel (Watson & Todeschini 2007:292). In 2006, during a raid at a villa complex maintained by the Papadimitriou family (descendants of the antiquities dealer the late Christos Michaelides), the Greek authorities confiscated the archive of the top antiquities dealers of modern times, Robin Symes and Christos Michaelides (Zirganos 2006b:44, Zirganos in Watson and Todeschini 2007:316-317). These three archives -- and, especially, the combined information they include (almost exclusively after 1972) -- provide an unprecedented insight into the international antiquities market. Research in the archives uncovers the ways in which thousands of looted antiquities, from all over the world, were smuggled by middlemen and "laundered" by auction houses and dealers, before being acquired by museums and private collectors, in contravention of the guidelines of the 1970 UNESCO Convention and the 1970 ICOM statement on Ethics of Acquisitions.
Since 2005, the Italian authorities, based on evidence from these three archives, have repatriated about 200 antiquities, from the University of Virginia (Ford 2008; Isman 2008:25, Isman 2009:87-88), Boston Museum of Fine Arts (Gill & Chippindale 2006; silver 2010:263-264), J. Paul Getty Museum (in three different occasions, for the first see Gill & Chippindale 2007; Gill:2010:105-106; Silver 2010:268; for the second and third see Gill 2012b and Ng & Felch 2013, respectively), Metropolitan Museum of Art (in two different occasions, for the first see Silver 2010:252-253; Gill 2010:106; for the second see Gill 2012a:64), Princeton University Museum of Art (in 2 different occasions, for the first see Gill and Chippindale 2007:224-225; Gill 2009a; Gill 2010:106-107; for the second see Gill 2012: Felch 2012a), Cleveland Museum of Art (Gill 2010:105), the Shelby White/Leon Levy private collection (Gill 2010:108; Silver 2010:272), Royal-Athena Galleries (dealer Jerome Eisenberg, see Gill 2010:107-108; Isman in Godart, De Caro & Gavrili 2008:24), the Minneapolis Institute of Art (Padgett 1983-86 [1991]; Padgett 1984; Gill 2009b:85; Gill & Tsirogiannis 2011:32; Boehm 2011) and the Dietrich Von Bothmer private collection of vase fragments in the Metropolitan Museum of Art (Gill 2012a:64). Recently, Toledo Museum of Art agreed to return an Etruscan Hydria to Italy (The United States Attorney's Office 2012), while Dallas Museum of Art announced the return of 5 antiquities to Italy and 1 antiquity to Turkey (Richter 2012; Gill 2013b). From the numerous antiquities depicted in the three confiscated archives, the Greek authorities have managed to repatriate only 2 so far, both from the Getty Museum in 2007 (Gill & Chippindale 2007:205, 208; Felch & Frammolino 2011:290).
Following their repatriation, these antiquities were published and exhibited with acknowledgement of their looted past (Godart & De Caro 2007; Godart, De Caro & Gavrili 2008), revealing the true nature of most antiquities in the confiscated archives. So incriminating is the evidence in the three archives presented by the authorities during the negotiations for each object that in no case has any museum, private collection or dealer tried to defend their acquisitions in court. The reason is that the photographic evidence presents, in most cases, the oldest part of the object's modern collecting history ("provenance," its first appearance after being looted; smashed and covered with soil, or recently restored, without any previously documented legal collecting history. An attempt to defend their illicit acquisitions during a court case would have brought (apart from the inevitable surrender of the object(s)) a long-lasting negative publicity for the museums, private collectors and dealers involved, additional embarrassment, an extra financial loss and the possibility that their and others' involvement in more cases of looted antiquities would be revealed. The subsequent returns in 2012 and 2013 from the Getty Museum to Italy and from the Metropolitan Museum of Art to Italy in 2012 prove that point. 
Although each repatriation case attracted massive media attention (Miles, 2008:357; Felch & Frammolino 2011:284) and non-specialists around the world began to be informed about the true nature of the modern international antiquities market, the market itself reacted badly. Having missed the 1970 UNESCO opportunity to reform, the market is now losing a second chance to change its attitude, since it is continuing to offer antiquities depicted in the three confiscated archives (Gill & Tsirogiannis 2011).
The ninth issue of The Journal of Art Crime, edited by Noah Charney and published by ARCA, is available electronically (pdf) and in print via subscription and Amazon.com. The Associate Editor is Marc Balcells (ARCA '11), Graduate Teaching Fellow, Department of Political Science, John Jay College of Criminal Justice -- The City University of New York.