Silver recovered from the World War II-era SS Gairsoppa shipwreck, which lies approximately three miles deep, will be on display. This is the first public showing of some of the 1,218 silver bars (approximately 48 tons) of silver recovered to date from the Gairsoppa, which is the heaviest and deepest recovery of precious metal from a shipwreck in history. 

In addition to the Gairsoppa silver, Odyssey is expanding the SHIPWRECK! Treasure Room to include a large selection of never-before-displayed coins from both the SS Republic and the “Tortugas” shipwrecks.

The majority of the silver recovered in 2012 from the SS Gairsoppa shipwreck was sold in the quarter with fourth quarter proceeds of $30.1 million to Odyssey ($17.8 million of this was credited in third quarter to expenses as recoupment of project costs).

Lion Attacking a Horse in the atrium at the Getty Villa (Photo by Catherine Sezgin)

Depicting the figure of a fallen horse succumbing to the claws and fangs of a ferocious lion, the monumental group dates to the early Hellenistic period (the late 4th century B.C.), when Greek sculptors began to produce naturalistic portrayals of intense emotion and physical exertion. 

Close-up of Lion (Photo by C. Sezgin)

Although the original location of the sculpture is unknown, its massive scale and dramatic carving suggest that it embellished a monument in northern Greece or Asia Minor (present-day Turkey). Created in the era of Alexander the Great’s conquest of Asia, the sculpture may have formed part of a larger composition with a melee of wild beasts and mounted hunters, which commemorated the young king’s famous lion-hunting exploits at Sidon (present-day Lebanon) in 332 B.C. and a royal game preserve in Basista (present-day Uzbekistan) in 328–327 B.C. 

The sculpture was eventually brought to Rome, most likely as war booty seized by a victorious general for display in the imperial capital. It was ultimately discovered in the streambed near the Circus Maximus, a stadium used for chariot races, gladiatorial games, and animal combats. The work was first mentioned in an archival document in 1300.

Backside of 4th century BC Greek marble (Photo by Sezgin)

By 1347, the sculpture was prominently displayed on the Capitoline Hill in Rome, the seat of the city’s civic administration. During this time, Renaissance Rome was experiencing a great rebirth of interest in its glorious ancient past, which served as a model for the present. Remains of antiquity, such as Lion Attacking a Horse, were among the earliest expressions of the Renaissance spirit.

The work was initially installed on the staircase of the Palazzo Senatorio in the Piazza del Campidoglio on the Capitoline Hill. Presiding over an area used for pronouncing judicial sentences since antiquity, this powerful image of domination and retribution served as a symbol of Rome for over a century. In 1471 Pope Sixtus IV transferred a group of ancient bronze sculptures, including the famous statue of a she-wolf suckling the twins Romulus and Remus, from the Lateran Palace to the Piazza del Campidoglio, as reminders of “ancient excellence and virtue.” Mounted on the facade of the Palazzo dei Conservatori, the she-wolf replaced the lion-and-horse image as the emblem of Rome. Lion Attacking a Horse was moved to various places on the Capitoline until it was eventually installed in the center of a fountain in the Caffarelli Garden in 1925.

Leila Amineddoleh (Cappadocia)

I am so excited about this position because the LCCHP is a great organization. The committee is in the midst of planning an exciting conference in NYC (tentatively planned for Nov 1-2,2013); submitting a written statement and testifying in support of the renewal of the Memorandum of Understanding between China and the US; continuing our call for the return of the ancient golden table at issue in In Re: Riven Flamenbaum; supporting the work of the Cambodian and US governments in repatriating a looted statue from Cambodia; and various other advocacy projects that are in the works.

Unfortunately I will not be at the 2013 ARCA conference, but I will be spending time in Italy as I'll be teaching Art & Cultural Heritage Law in Rome for St. John's School of Law's summer program. What other upcoming conferences or panels will you be attending? Earlier this month I moderated a panel at Fordham Law School entitled "Defining Cultural Ownership: Shifting Focus, Shifting Norms..." It was well-attended and absolutely fascinating, as we had a fantastic line-up of speakers. My time in Italy this summer will also be busy with events, as my course includes tours around Rome, a field trip to the Roman Forum (led by an archaeologist), and various other events. I haven't committed to any other major events scheduled for after my time in Rome, due to the demands of my litigation practice. However, things in NY generally start getting hectic again in the fall.

Degas' After the Bath c 1883

Shapiro does several clever things. She uses real artists and real connoisseurs like Gardner in the telling of the book. All the forgers Claire learns from are real, as are the techniques they used. She mixes in chapters of Isabella Gardner’s letters to her niece detailing her adventures with Degas — these are juicy fiction. She offers “A Note on the Research” at the end of the book to make clear what is history and what is fiction.

The painting techniques that Claire uses for both her forgery and her own work are consistent with current practices, as are the descriptions of the struggles of a young artists. The forgers and dealers she discovers through her Internet research were/are actual people, including John Myratt, Ely Sakhai, and Han van Meegeren, and the specifics of their crimes, methods, inventions, and punishments are also accurate. 

The details of the 1990 robbery of Gardner Museum are factual -- it remains the largest unsolved art heist in history -- with the exception of the inclusion of Degas' fifth After the Bath, which neither was stolen nor exists, although it is a composite based on his other four After the Bath works.

"Conversation for Conservation" 

It is essential to tell a good story on a global level in an accessible manner through the various channels of digital media (e.g., FB, Twitter, Instagram), to foster conversation. This dialogue, in turn, leads to action, having a direct beneficial effect on sites and monuments because of the broad range of people and organizations involved through existing partnerships and participation."

During these months, overdue maintenance will be realised, the main entrance relocated, technical installations renewed, and the sustainability of the entire building shall be improved. The reconstruction works are jointly initiated by the Kunsthal, de municipality of Rotterdam – owner of the building – and architecture firm OMA. The board of the Kunsthal as well as the Mayor and Executive Board of Rotterdam have given their consent for the reconstruction works. 

Seen the scope of the renovation, it has been decided to extend the management of the Kunsthal with a business director, Bas den Hollander. 

The Kunsthal will be closed for visitors during its five months reconstruction works. Therefore, Friends of the Kunsthal and members of the Kunsthal Business Club are compensated and will receive a forthcoming letter with additional information.

Behind the scenes, the Kunsthal-team will continue to work on an exciting exhibition programme.

As from November 2013, we will be happy to welcome you in a beautiful renovated and sustainable building.

In 1990, two thieves dressed as Boston police officers told the museum night guards on duty that they were responding to a call. The thieves passed the sole security door. There was just one alarm button at the time; only motion detectors traced their movements. There were no cameras. A mere 81 minutes later, they were in possession of the masterpieces worth, today, half a billion dollars. The investigation is ongoing. 

The new building could have been a fortress. But that would have made the theft the focal point of how we would perceive the museum. Instead, the colorless glass entry, the brick walls, even the enclosed corridor that passes from the new building through a grove of trees into Gardner’s historic courtyard serve as practical access controls. There are no doors for the public to the original Gardner mansion. A thief would now have to walk through a transparent glass tunnel, into the new building, and out a security door for the easiest exit. Though counterintuitive, its openness makes it more secure. 

While the museum is watched by hundreds of cameras, the new structure is designed to relieve some of the stress from Gardner’s old home by shifting the burdens of exit and entry to the much more modern and secure building. “There is simply no place in the museum where a thief can just grab art and get outside,’’ Anthony Amore, the head of museum security and author of “Stealing Rembrandts,’’ said.