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January 5, 2014

Sunday, January 05, 2014 - ,,,, No comments

Postcard from Paris: ARCA Lecturer Judge Arthur Tompkins on artworks on display with history of theft

Robert-Fluery's 'Last Days of Corinth', Musée d'Orsay
This post begins a four-part series written last autumn during New Zealander's Judge Tompkins sojourn to present papers at an Interpol DNA conference in Lyon. Consider it a warm-up to the ARCA blog traveling to Paris next week.

By Judge Arthur Tompkins

Friday morning the 1st of November, my first day in Paris on this trip, dawned under leaden skies drizzly rain and a cold-ish breeze. Undaunted, and drawing inspiration from the Woody Allen movie, Midnight in Paris, in which the character Gil, played by Owen Wilson, enthuses, “Can you picture how drop dead gorgeous this city is in the rain?”, I set out on a carefully chosen Velib bike from the stand up the street, for an early morning ride around central Paris, in search both of nostalgic sights, and coffee.

My route took me across to and up the middle of Il St Louis, over to Il de la Cite (where there is a huge temporary grandstand in front of Notre Dame, apparently part of the 850 year anniversary commemorations of the cathedral – but it does somewhat spoil one of the great views in Paris, that of a deserted front of Notre Dame as the sun rises), and then across to the Left Bank and along the riverside.

My progress was punctuated by a horn being sounded and an admonitory gallic finger being waved at me by the uniformed driver of a police van, full of what looked liked dishevelled revellers who had crossed paths with the police that night and were being driven into the Conciergerie – although not to the same ultimate fate as an earlier sometime resident of that forbidding police station, Marie-Antoinette, I hoped – as I thought about, but did not, cross a pedestrian crossing on my bike against a red light right in front of his van.

I also managed two very satisfactory coffee stops, in corner cafes that were sleepily opening up in advance of the morning’s onslaught of workers and tourists.

Vincent van Gogh's "Portrait of Dr. Gachet"
Musée d'Orsay, Paris
I had decided to visit the Musée d'Orsay and then in the afternoon I planned to head to the Louvre. The former was achieved after a 30 minute wait in line, in the drizzly rain, and was as rewarding as ever. An unexpected highlight was turning a corner and coming face to face with Robert-Fluery’s ‘Last Days of Corinth’ – which my students from this year will undoubtedly remember that I used in my Art Crime course when discussing Rome’s sack of Corinth in 149BC, and also two in particular of the many Van Goghs. The first was a self-portrait sold by the Nazis in 1939 at the notorious degenerate art auction held at the Fischer Gallery in Switzerland; the second a version of the infamous Portrait of Dr Gachet, acquired by Goering and traded by him to a dealer in Amsterdam, from where it eventually ended up being purchased by a Japanese industrialist [the Musée d'Orsay's Portrait of Dr. Gachet entered the state collection in 1949].

After lunch, a drizzly walk across the Tuileries Gardens, with a small detour to pay homage to Rose Valland’s memorial plaque on the corner of the Jeu de Paume, took me to the Louvre. The vast queue at the main entrance was avoided by buying my ticket in the hidden-away Tabac store in the nearby underground shopping centre, and then using the priority entry lane, and a lovely three hours followed.  Huge crowds were, as always, overlooking the largest stolen painting on public display anywhere in the world – Veronese’s "The Wedding at Cana" – by concentrating on the Mona Lisa on the opposite wall, and also largely ignoring the other da Vinci paintings in the Grand Gallery nearby, including his John the Baptist, supposedly da Vinci’s last painting, which was acquired by King Charles I but then sold to the French by Cromwell’s Commonwealth after Charles was executed.

My time in the Louvre was also marked by an entertaining vignette, which took place in front of Uccello’s Battle of Romano – one of three paintings that make up the series, the other two being in the Uffizi and London’s National Gallery. Seated on the bench in front of the painting, an American man was talking loudly and long on his cellphone, discussing for all to hear, and in some detail, the structuring of an investment “opportunity”, whilst his wife sat next to him, a look of increasing annoyance on her face, her body language speaking volumes of the way in which her husband was ruining the much-anticipated (by her) and expensive (to him, no doubt) visit to the Louvre.  My guess is they had words later …

I also hunted out the Louvre’s two Vermeers, the Lacemaker and the Astronomer. The latter, reputedly Hitler’s favourite painting, was looted by the Nazis after the occupation of Paris from the Rothschilds and hung in the Jeu de Paume for inspected there by Herman Goering, but ultimately sent to Germany and intended as the centrepiece of Hitler’s Linz Museum. In the latter part of the war, after the Normandy landings, it was stored in the Aut Ausee saltmine, and rescued from there by American troops, as a result of the work done by the Monuments Men.

January 4, 2014

Saturday, January 04, 2014 - ,, No comments

East African vigangos: Difficulties American Museums Encounter in returning these sacred items (Tom Mashberg for The New York Times)

From the Denver Museum of Nature
& Science via The New York Times:
three totem poles (vigangos)
Tom Mashberg for The New York Times in "Sending Artworks Home but to Whom? Denver Museum to Return Totems to Kenyan Museum" (January 3, 2014) points out the difficulty American museums have in returning the East African memorial totems known as vigango:
Now, the Denver Museum of Nature and Science says it has devised a way to return the 30 vigango it received as donations in 1990 from two Hollywood collectors, the actor Gene Hackman and the film producer Art Linson. The approach, museum officials say, balances the institution’s need to safeguard its collection and meet its fiduciary duties to benefactors and the public with the growing imperative to give sanctified objects back to tribal people. 
“The process is often complicated, expensive and never straightforward,” said Chip Colwell-Chanthaphonh, the museum’s curator of anthropology. “But just because a museum is not legally required to return cultural property does not mean it lacks an ethical obligation to do so.” 
The museum this month will deliver its 30 vigango (pronounced vee-GON-go; the singular form is kigango) to the National Museums of Kenya. Officials there will choose whether to display the objects, hunt through the nation’s hinterlands for their true owners and original sites, or allow them to decay slowly and ceremoniously, as was intended by their consecrators. Whatever they opt to do, Kenyan officials say, sovereignty over the objects should be theirs and not in the hands of foreign museums. (The details of the transfer are still being negotiated.) 
Some 20 institutions in the United States own about 400 of the totems, according to Monica L. Udvardy, a professor of anthropology at the University of Kentucky and an expert on Kenyan culture who has studied and tracked vigango for 30 years. She said that Kenyans believe that vigango are invested with divine powers and should never have been removed from their sites and treated as global art commodities. Kenyan officials have made constant pleas to have the objects sent back.
But repatriating them takes far more than addressing a parcel. No federal or international laws prevent Americans from owning the totems, while Kenyan law does not forbid their sale. And the Kenyan government says that finding which village or family consecrated a specific kigango is arduous, given that many were taken more than 30 years ago and that agricultural smallholders in Kenya are often nomadic. 
A result is that museum trustees seeking legally to relinquish, or deaccession, their vigango have no rightful owners to hand them to.

January 3, 2014

Friday, January 03, 2014 - , No comments

Resistance fighter and Paris art dealer René Gimpel died on this day in a concentration camp in 1945

by Catherine Sezgin, ARCA Blog Editor-in-Chief

On this date, January 3, in 1945, Paris art dealer René Gimpel (born 1881), brother-in-law of the art dealer Joseph Duveen, died in Neungamme concentration camp.

In The Rape of Europa, Lynn Nicholas recounts that René Gimpel, had traveled the year before his death to Geneva to see an exhibit of paintings from the Museo Nacional del Prado in Barcelona after General Franco paused 'bombing operations so that the paintings could be removed' to safety during the Spanish Civil War:
In an extraordinary international effort, a Committee for the Salvage of Spanish Art Treasures, cooperating with the League of Nations, as well as French and British cultural agencies, backed by private money raised in a little more than twenty-four hours from collectors in Europe and America, organized a truck convoy to move the collection to France. There the precious cases were loaded on a special twenty-two-car train and taken to a Geneva, where they were exhibited in a show not likely to be equalled, for these are things which never normally travel, and certainly not en mass: all the great Velázquezes, Bruegel's Triumph of Death, 26 El Grecos, 38 Goyas, Dürer's Self-Portrait: 174 paintings in all.
Anyone who could, from Kenneth Clark and Bernard Berenson to Matisse and Picasso, travelled the long road to see it. Late in August one of the last visitors, the Paris dealer René Gimpel, wrote in his diary [on August 24 from Geneva, in the second to last entry of his journal]:
The conflagaration is not far from bursting in upon us. We have been here for forty-eight hours to see the Prado Exhibition... Death hangs over our heads, and if it must take us, this last vision of Velázquez, Greco, Goya, Roger van der Weyden, will have made a fine curtain.
Gimpel's book, Journal d'un Collectionneur (Diary of an art dealer, 1966, English translation by Joseph Rosenberg), recounted the art world between the wars 1918-1939, citing sales and prices of art, giving his opinions in brief posts like this one on 'March 12, 1918/Fake painting':
A fake Gainsborough, a Blue Boy, has just been knocked down at the Hearn sale in New York for more than $32,000. It's harder to sell a genuine painting.
Gimpel wrote on March 25, 1924, under the heading "Vandals":
A specialist in Egyptian art has told me that he is waiting for a large Egyptian statue. To get it out of Egypt, it was cut into forty-six pieces, and the work of reconstitution is being done in Paris. This happens every day.
His last entry: "September 3/Paris, We're at war."

Sir Herbert Read writes in the introduction of the 1966 translated journal that René Gimpel's father, who established the family gallery in Paris in 1889, had been an Alsatian 'who had come to the French capital because as a French citizen he could not tolerate the terms of the Treaty of 1871':
René Gimpel was imbued with the same spirit of revolt, and during the Second World War he and his sons were to participate actively in the Resistance. René was eventually interned by the Vichy authorities for his underground activities, released in 1942 but then re-arrested by the Germans. In prison he taught English to his fellow prisoners, to prepare them, as he said, for the liberation. He was sent with a convoy to Germany and suffered great hardships under which his healthy finally broke down. 
Louis Martin-Chauffier, fellow-prisoner in Neuengamme concentration camp toward the end of 1944, described his end in a letter written some years later to Jean Guehenno (quoted in M. Guehenno's Preface to the original French edition of the journal): "Physically he was no more than a shadow of his former self, as was usually the case with all of them, but morally he had not changed, and that is infinitely rarer. Knowing that he was soon to die, he continued as if nothing was happening, to speak of life and to give to his companions, overwhelmed by exhaustion, despair, and disgust, the example of the serenity of a man who, having nothing more to lose and having done what he can, is left with only one duty, which is not to flinch and to help others."
René Gimpel's papers are archived at the Smithsonian's Archives of American Art.

Friday, January 03, 2014 - ,,, 1 comment

Postcard from Turkey: Archaeological museums in Ankara and Istanbul

by Aaron Haines

Ankara, the capital of Turkey, is slated to host a massive archaeology museum that the Turkish government hopes to complete by 2023, the centennial of the founding of the Republic of Turkey. The current archaeology museum is a sizeable building and when I visited in August, only two of the galleries were open due to extensive renovations that were taking place in the museum’s other galleries. The interior of the main gallery was dark with dramatic lighting illuminating the artifacts on display. There was a large amount of Hittite artifacts with detailed text panels in Turkish and English explaining the history and significance of the Hittite civilization and their archaeological remains.

The crowning piece of the main gallery was the “Troy Gold”, a collection of jewelry recently sent to Turkey on indefinite loan by the University of Pennsylvania Museum of Archaeology and Anthropology. The museum in Ankara had hung a large banner at the entrance proudly advertising the return of the artifacts. The collection of jewelry was on display at the back of the gallery where a matching banner had been hung. The jewelry was well displayed and the necklace and earrings had been placed on a stylized head to give the viewer an idea of how they would have looked when worn. The only other part of the museum that was open was a small gallery displaying various Roman artifacts. The side yard was littered with massive half buried amphoras as well as various capitals and partial columns. In the spacious courtyard were copies of various statues from the Hittites, Romans, and other civilizations.

The Istanbul Archaeological Museum is an older building that was also undergoing extensive renovations when I visited it in August. The permanent collection in the main building was open as well as the galleries containing the Greek and Roman sarcophagi. It was clear that the main building was intended as a space for a permanent collection as many of the artifacts were built into the wall or had special pavement around them. The amount of cameras seemed adequate, but there were very few guards in relation to the amount of patrons in the museum. However, the museum was experiencing an unusually high amount of attendance that day since the Topkapi Palace was closed. The display cases appeared to only have simple locks and no seals. The lighting was sufficient, but only a few of the display cases had individual lights.

Due to the renovations, patrons had to use the restrooms in the administration building. This required them to walk down a narrow hallway and turn a couple of corners before reaching the restroom. This would have be insignificant had it not been for the archaeological artifacts haphazardly lining the walls and the open storage room stacked with crates containing other artifacts. There were no cameras in this area of the building, but the security guards’ break room was in the same hallway. The guards frequently came in and out of the hall providing the artifacts with a reasonable amount of security.

The gallery containing the Greek and Roman sarcophagi and architectural remains were similar to the gallery in the Ankara museum with its completely dark rooms and the dramatic lighting of the artifacts. All the artifacts were well displayed and there were many more guards in this area of the museum, especially in those rooms containing the large sarcophagi. The small gallery containing the Classical statuary was particularly well displayed with lots of camera surveillance. At the end of this small gallery was a large room occupied by only the Orpheus Mosaic returned by the Dallas Museum of Art. Next to it, the text panels describe the history and significance of the piece as well as its recent repatriation from the Dallas Museum of Art.

Aaron Haines is a senior majoring in art history at Brigham Young University and traveled to Turkey this summer using grant moneys from the BYU Office of Research and Creative Activities to observe the security of four archaeology museums. He visited the archaeology museums in Uşak, Boğazkale, Ankara, and Istanbul each of which houses artifacts that have been recently repatriated by Turkey from other countries. Aaron has a special interest in cultural property law and preservation as it applies to Italy and Turkey and speaks Italian and some Turkish. He recently returned from an internship at the American Embassy in Rome and is currently interning with the U.S. State Department’s Cultural Heritage Center.

January 1, 2014

Wednesday, January 01, 2014 - ,, No comments

Celebrate the new year revisiting the 1996 art heist movie "How to Steal a Million": stolen art, forgery, Paris, and Peter O'Toole and Audrey Hepburn

ARCAblog subscriber Susan Rosenberg wrote in to recommend the 1966 comedy movie "How to Steal a Million" starring Peter O'Toole (1932 - 2013) and Audrey Hepburn (1929 - 1993). Ms. Hepburn portrays the daughter of a forger (played by Hugh Griffith) who tries to steal her father's work back from a museum in Paris. This movie was filmed on location in Paris.

In the movie, the two thieves rendezvous in the bar at the Ritz Hotel in Paris the day after committing the robbery: "We did it! Did you see the paper and the television? Did you hear the radio? It's the crime of the century, practically, and we did it!"

Here's a link to a preview of the movie.

Happy New Year!

December 31, 2013

Tuesday, December 31, 2013 - ,, No comments

Postcard from Turkey: The Archaeological Museum in Boğazkale

by Aaron Haines

After my visit in Uşak, I took a four hour bus ride to Ankara where I spent the night and then left early the next morning for Boğazkale. After sitting on a hot bus for three hours watching daytime Turkish TV (the bus driver was a fan of soap operas), I arrived in Sungurlu, the closest major town to Boğazkale. Upon stepping off the bus, I was immediately befriended by a nice Turkish taxi driver who offered to take me to Boğazkale for an exorbitant fare. I politely declined and started the one mile trek towards the town center of Sungurlu in hopes that I could find a minibus headed for Boğazkale. I eventually located the minibus station and sat down to wait. In Turkey, the minibus drivers don’t drive anywhere until their vehicle is full and unfortunately for me, it was noon and no one was interested in going to Boğazkale except for me. After waiting for a half hour, I decided that the 15 seater minivan was never going to fill up and decided to take a taxi.
Yard of Boğazkale museum (AH)

I finally arrived in the small town of Boğazkale and had the taxi drop me off outside the archaeology museum. It had a sizeable lawn and pavement area with a tall wrought iron fence surrounding the lot. Various archaeological artifacts were in the yard, but unlike the Uşak museum, these pieces were carefully displayed and labeled. A few of the larger pieces were even placed under wooden shelters to protect them from the elements.

Disputed sphinx (AH)
As I stepped into the museum, the first thing that caught my eye was the large pair of sphinxes flanking the doorway to the central gallery. The left sphinx had been the center of a heated debate between Turkey and Germany ever since the beginning of the 20th century when the statues had been discovered and sent to Berlin for repairs. Germany only sent back one of the sphinxes and the other remained in Berlin where it was built into the wall of the Pergamon Museum. Germany did not return the sphinx until 2011 after Turkey threatened to revoke Germany’s dig permit at Hattusha. The museum consisted of a couple of small rooms preceding a much larger central gallery. There were many text panels explaining the works displayed as well as information about the Hittites and other civilizations that inhabited the surrounding region. All of the works were well lit and beautifully displayed.

Main gallery (AH)
After passing between the sphinxes, I entered the main gallery which consisted of a ground floor and a second story balcony area. More archeological artifacts were displayed as well as replicas and explanations of the ancient city of Hattusha. The most arresting works on the ground floor were two tall ceremonial bull vases. There were fewer cameras than at Uşak, but the display cases appeared to be much more modern and secure than those at Uşak. Also, the visibility in the main gallery was excellent since it was just one main room and the guard had complete visibility of both the ground floor and the balcony level.

The bench outside the museum (AH)
After visiting the galleries, I sat on a bench outside the museum and chatted with the security guard. He spoke almost no English so we talked in Turkish. He told me that a guard was present at the museum 24/7 and that the cameras monitored both the interior of the museum as well as the surrounding yard. Each night, the fence gate as well as the main door’s outer iron grate are locked. There were also powerful motion detection lights on the exterior of the building that would turn on if a person approached the building at night.


Hattusha site (AH)
I left the museum and walked about twenty minutes to the Hattusha archaeological site where the ancient capital of the Hittites once stood. Near the entrance is a reconstruction of the city walls to give visitors an idea of how massive the walls and towers of the city were. I then spent the next three hours hiking around the ancient ruins by following the wide road that snakes its way throughout the ruined city. Except for the occasional Turkish family or group of backpackers, I had the place to myself. At the very top I found the gate where the two sphinxes had been originally discovered where a replica now stands. From the gate there was a spectacular view of the ruins and surrounding landscape.

Original site of sphinxes with replica
As the sun began to set, I made my way back into the town center of Boğazkale. On my way down the country road, I ran into the museum security guard taking an evening stroll with his family. He introduced me to his wife and young daughter and asked how I liked Hattusha. I told him that I was on my way back to Sungurlu and he warned me that it might be too late to take a taxi. I thanked him and we parted ways. As I continued walking, I thought about my chances of finding a taxi and decided that the odds were slim. So I stuck out my thumb and hitchhiked back to Sungurlu with a nice Turkish gentleman driving home from work. From there, I caught one of the last buses going back to Ankara where I wearily walked back to my hostel at midnight.

All photos taken by Aaron Haines.

Aaron Haines is a senior majoring in art history at Brigham Young University and traveled to Turkey this summer using grant moneys from the BYU Office of Research and Creative Activities to observe the security of four archaeology museums. He visited the archaeology museums in Uşak, Boğazkale, Ankara, and Istanbul each of which houses artifacts that have been recently repatriated by Turkey from other countries. Aaron has a special interest in cultural property law and preservation as it applies to Italy and Turkey and speaks Italian and some Turkish. He recently returned from an internship at the American Embassy in Rome and is currently interning with the U.S. State Department’s Cultural Heritage Center.

December 30, 2013

Monday, December 30, 2013 - ,,,,,, 1 comment

Postcard from Turkey: The Archaeological Museum at Uşak, The Lydian Hoard and Two Hippocampuses

by Aaron Haines

I rubbed my sleep-deprived eyes and stared across the abandoned parking lot at the rusty minivan that was supposedly my “shuttle” into town. It was six in the morning and the sun was just beginning to peek over the horizon of Uşak, a small city in the center of western Turkey. Most bus companies don’t travel to Uşak and the few that do only offer one or two bus rides from Istanbul each day. I had left Istanbul the previous night at eight and spent the next ten hours on a bus in order to see Uşak’s most famous possession: the Lydian Hoard. I walked up to the minivan, squeezed onto the front bench, and told the driver I needed to go the archaeology museum. The rest of the passengers stared me as if wondering what a young American backpacker was doing so far from any of Turkey’s usual tourist destinations. We soon reached the city center and the driver told me in Turkish that the museum was just down the street.

Photo by A. Haines
The museum did not open for another couple of hours so I took my time observing the building’s exterior. It was a small building situated on an awkward triangular corner plot of land where two streets merged. It was surrounded by a low wrought iron fence that was about three to four feet in height. The building’s small yard was littered with archaeological artifacts from various civilizations and time periods; Byzantine, Hittite, Roman, and others. The placement of these objects was haphazard, but it was clear every square inch of the yard could be surveyed by the small army of security cameras that pointed in every direction. Also, none of the objects were small enough to be lifted by hand and would have required either machinery or several people to move them. There was an abundance of exterior lighting indicating that the museum and archaeological artifacts could be sufficiently monitored at night. The museum was an older building, but fulfilled its intended purpose. The windows were single paned and old, but all well protected by the iron bars covering them. Despite the early hour, I noticed a man standing inside the museum watching me, indicating that a security guard was present at the museum both day and night.

At eight when the museum opened, I stepped inside and was greeted by the security guard. I pulled out my wallet to purchase a ticket, but the guard was already leaving his desk and leading me into the museum’s only gallery. I expected him to then return to his desk while I toured the small collection, but instead he simply followed me around. I got the feeling that not many people came into the museum. The lighting and presentation of the museum’s collection were excellent and there were many text panels explaining the significance of the objects as well as where they had been found in the surrounding countryside.

Photo of Lydian Hoard by A. Haines
I was eager to see the Lydian Hoard and quickly found it in a room in the very back of the gallery. The pieces of the collection were displayed on simple but elegant cloth with good lighting. The hippocampus still occupied its own display case, but the text panel gave no indication that the original had been stolen or that the current piece on display was a copy of the original. I noticed that the previous simple lock had been replaced by a lock, seal, and slip of paper. On this slip of paper were the signatures of four different archaeologists indicating that each had verified that the work was the legitimate original.

Photo of documented lock by A. Haines
The museum guard was still shadowing me so I decided to strike up a conversation with him. He did not speak much English so we conversed in Turkish. He explained to me that a guard was at the museum twenty four hours a day and that there was video surveillance of the entire building and the surrounding yard of antiquities. When I asked him how many patrons visited the museum, he told me that during the summer, they averaged about one hundred every day. This surprised since Uşak is a smaller city and quite far from any major tourist attractions. I asked again about the museum attendance and he repeated that they indeed averaged around one hundred patrons a day during the summer time. He explained that during the winter, attendance drops due to the decrease in tourism. He went on to explain that the city was currently constructing a new museum that is supposed to be completed next year. The new three story building will have much more storage and administration space as well as an upgraded security system.


Copy of  hippocampus in Uşak (A. Haines) 
We returned to the subject of the Lydian Hoard and after I asked a couple of questions about the hippocampus, he stopped and stared at me for a couple of seconds. He then asked if I wanted to know something and leaned in to quietly tell me that the original work had been stolen. I feigned surprise and he motioned for me to walk back over to the display case. He then told me the story about the hippocampus and confided in me that the brooch in the case was actually a fake. Thanks to Sharon Waxman’s 2008 book Loot: The Battle Over the Stolen Treasures of the Ancient World (Times Books), I already knew this, but I doubted that most patrons to the museum did. There was no explanation of it in the text panels or in any of the other materials on display. Most patrons assumed that they were viewing the original.

Imagine my surprise when I arrived in Ankara, the capitol of Turkey, just a couple of days later and saw the same hippocampus on display in the Museum of Anatolian Civilizations. My immediate thought was that I had now seen two copies of the same stolen work.

Recovered hippocampus temporarily
housed in Ankara (Photo by A. Haines)
I approached two security guards chatting nearby and explained to them that I had just seen this same work in Uşak. They replied that I had seen a copy in Uşak and that the object in Ankara was the original brooch. I asked them how this could be since the work had been stolen and they explained that it had been recently recovered. Supposedly it was only on temporary display in Ankara and will be moved to Uşak next year when the new Uşak museum is complete.

Aaron Haines is a senior majoring in art history at Brigham Young University and traveled to Turkey this summer using grant moneys from the BYU Office of Research and Creative Activities to observe the security of four archaeology museums. He visited the archaeology museums in Uşak, Boğazkale, Ankara, and Istanbul each of which houses artifacts that have been recently repatriated by Turkey from other countries. Aaron has a special interest in cultural property law and preservation as it applies to Italy and Turkey and speaks Italian and some Turkish. He recently returned from an internship at the American Embassy in Rome and is currently interning with the U.S. State Department’s Cultural Heritage Center.

Monday, December 30, 2013 - ,,,, No comments

Stolen and Recovered Antiquity: The Hippocampus brooch of the Lydian Hoard ("Karun Treasure") recovered in 2012 in Germany

Constanze Letsche in Istanbul reported for The Guardian in "King Croesus' golden brooch to be returned to Turkey" that German government officials have agreed to return the Hippocampus brooch of the Lydian Hoard ("Karun Treasure"), allegedly sold by the director of the museum in Uşak and replaced with a copy sometime between 1993 and 2006.
Although details of the brooch's latest recovery are unclear, Turkish officials are delighted. "I am very happy to hear that the piece will finally return home," said a culture and tourism official, Serif Aritürk, who is responsible for the museum in Usak. "Since I was in office in 2005 and 2006 I felt personally responsible for the theft; our directorate came under a lot of pressure." He added that he had never doubted the brooch would reappear. "No collector would have dared to acquire such a well-known artefact, it was clear that the thieves would not find a buyer easily."
The Hippocampus brooch was found in Germany.

Here The History Blog provides backstory on the recovery and theft of this object.

Monday, December 30, 2013 - ,,,, No comments

Was the repatriation of a footless 10th century statue to Cambodia this month related to Sotheby's history of selling Khmer pieces with "no published provenance" or "weak" collecting histories?

This month's repatriation of a 10th century footless sandstone statue looted from an archaeological site in Cambodia has a backstory going back a few years. In an academic article published in July 2011, Tess Davis, then assistant director of Heritage Watch, wrote that Sotheby's Auction House had listed 377 Khmer pieces for sale between 1988 and 2010:
Seventy-one percent of the antiquities had no published provenance, or ownership history, meaning they could not be traced to previous collections, exhibitions, sales, or publications. Most of the provenances were weak, such as anonymous private collections, or even prior Sotheby’s sales. None established that any of the artifacts had entered the market legally, that is, that they initially came from archaeological excavations, colonial collections, or the Cambodian state and its institutions. While these statistics are alarming, in and of themselves, fluctuations in the sale of the unprovenanced pieces can also be linked to events that would affect the number of looted antiquities exiting Cambodia and entering the United States. This correlation suggests an illegal origin for much of the Khmer material put on the auction block by Sotheby’s
In the summer of 2011, Jane Levine of Sotheby's objected to Ms. Davis' article and demanded a retraction. About six months later, Cambodia asked that Ms. Levine be removed from a cultural panel based on perceived ethical conflicts.

At the end of February 2012, Tom Mashberg and Ralph Blumenthal wrote in The New York Times ("Mythic Warrior is Captive in Global Art Theft", February 28, 2012) that the Cambodian government had asked the U.S. for help to stop the sale of a reputedly looted 10th century Khmer Koh Ker footless sandstone statue Sotheby's intended to sell in March. This month, almost two years later, an agreement was reached to return the disputed statue, now described as a Duryodhana statue, to Cambodia ("Duryodhana statue from Prasat Chen, Cambodia: "Voluntary" Repatriation by Sotheby's and consigner").

Ms. Davis is now a Researcher in the Scottish Center for Crime and Justice Research at the University of Glasgow.

December 28, 2013

Saturday, December 28, 2013 - ,,,, No comments

Fabio Isman reports on scholar Augusto Gentili's identification of sitter of portrait "Young Knight in Landscape" at the Museo Thyssen-Bornemisza

Carpaccio's 1515 "Young Knight in a
 Landscape", Museo Thyssen-Bornemisza
Investigative journalist Fabio Isman's article "Scoperto chi è il “Cavaliere Thyssen” di Carpaccio" discusses the work of scholar Augusto Gentili who has identified the mystery man in Vittorio Carpaccio's painting "Young Knight in a Landscape" (1515) at the Museo Thyssen-Bornemisza in Madrid. Gentili, a lecturer at Ca'Foscari di Venezia until his retirement, has identified the painting as a portrait of the Venetian captain Marco Gabriel decapitated by the Turks in 1501 during wartime.

Here Mar Borobia for the museum describes the difficulty in identifying painting as either a fictional knight or a portrait which would be "the first known example in which the sitter is depicted full-length":
It has been suggested that this new format can be explained if this image were a posthumous portrait of a soldier, in which case the figure would be similar to funerary images of a comparable type and date. The landscape around this enigmatic young man is as mysterious and troubling as he is, combining as it does flowers and animals that refer both to good and evil, purity and corruption.
Isman reports that Professor Gentili linked the portrait to Marco Gabriel and to Venice's Hotel Gabrielli. The English translation of Gentili's analysis will be published in The Burlington Magazine.

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