The committee advises the Minister for the Arts on the maintenance of the National Cultural Heritage Control List and the operation of the National Cultural Heritage Account.
Professor Chappell is an Adjunct Professor in the Faculty of Law at the University of Sydney, and one of Australia's pre-eminent experts in the field of illicit trafficking in cultural property. A former Director of the Australian Institute of Criminology, he has published widely on art crime and the illicit trade in cultural property. In 2013, Professor Chappell was awarded the Eleanor and Anthony Vallombroso Award for Art Crime Scholarship by the Association for Research into Crimes against Art.
Dr. J. Patrick Greene OBE was appointed as chair of the committee. Other members appointed: Mr. Joseph Eisenberg, Professor Marett Lieboff, Ms. Tina Baum and Dr. Graeme Were.
In August 2012 Hurriyet Daily News highlighted a report produced by Turkey's Culture and Tourism
Ministry that identified hundreds of works of art as missing from the State Art and Sculpture Museum in Ankara. Some of the works stolen were from highly valued Turkish artists such as Şevket Dağ, Şefik Bursalu, Zühtü Müridoğlu, and Hikmet Ona. Experts and common citizens alike complained that the museum, like many in many countries, did not have an adequate inventory system in place. This vulnerability, it was partially reasoned, worked in the thieves favor when they switched the original paintings with inferior fake ones.
When the thefts were discovered the Culture Ministry was forced to examine 5,000 works of art in the collection. Their findings indicated that a total of 302 objects were stolen, elaborating that 256 of the paintings/objects were listed as completely missing and 46 as having been replaced with forged replica, including 13 charcoal sketches by Hacı Ali Rıza.
Turkish news sites today report that arrests have been made as a result of an anonymous caller who spoke directly with the Culture and Tourism Minister Ertuğrul Günay,
breaking open the Ankara art theft investigation and leading to the arrest of three of 18 tentative suspects involved in the case.
The news site went on to add that the thefts and forgery involve an organized network of criminals who lifted works of art from the museum primarily between 2005 and 2009 selling them through middlemen and fine art dealers, sometimes even in auction houses to unsuspecting buyers.
The fact that this group of criminals were able to operate so freely and for so long within Turkish borders and within the legitimate art market without detection reflects the country's heritage vulnerability as a trafficking conduit not just for its own works of art but also for objects originating from nearby nations such as Syria and Iraq where trafficking and looting have been reported.
"Terrorism in contemporary terms needs a strong financial support, high
tech weapons and an expensive organization. There is no doubt that
today’s terrorists are better financed and better utilize the
financial institutions than before. There is a close connection
between terrorism and organized crime. Illicit sources such as
narcotics and human trafficking, arms smuggling, money laundering or
extortion are major revenue sources for terrorist groups. However, it
is a well known fact that terrorist organizations resort beside illegal
means to legal means to finance their criminal activities. Now, it has
become clear that legal businesses and charitable organizations can
also be utilized by terrorists for funding their activities."
Director Joe Medeiros' 2012 documentary "Mona Lisa is Missing" (formerly "The Missing Piece") is now available on Netflix, iTunes and Amazon through US distributor Virgil Films:
This documentary examines the case of Vincenzo Peruggia, an unassuming house painter charged with stealing the "Mona Lisa" from the Louvre in 1911. (Netflix summary)
ARCA alumna Tanya K. Levrick reviewed the film in July 2012 on the ARCA blog here. The film was also produced by Joe's wife, Justine, and showed in Los Angeles last year.
Medeiros discusses the theft of Leonardo da Vinci's masterpiece from Paris on the ARCA blog here.
“I'm not upset that you lied to me, I'm upset that from now on I can't believe you.”
--attributed to Friedrich Nietzsche in a million places, but as the experts will tell you, it's not true.
I open this blog post with this pseudo quote from Nietzsche because it makes both my point and captures my feelings when I open a newspaper or turn to the Web for updates on conflict antiquities. In the rush to publish about atrocities to cultural heritage during war, some media outlets, possibly too eager to report the news first, do not take the time to verify facts, defaulting to simplistic headlines. This may be born out of a need to assuage their readership in a highly competitive and financially stretched market. Journalists are often pressured to churn out reports too quickly. But it times of conflict, this can be a deadly mistake. We don't need sensationalism or propaganda. We need truth in journalism.
Yesterday I came across CNN’s Style page's photomontage of what it called “The greatest buildings you'll never see: 19 priceless monuments lost in battle”. This photo report can be found under the slightly misleading URL descriptor "precious-monuments-lost-in-middle-east-conflicts".
I selected this article not because it is any worse than any other article being published by other news organization but because it had so many short "facts" that the average Joe citizen might assume as truth.
My problem with many of the images and their accompanying descriptive texts in this, and other similarly-styled cultural heritage news reports, is that they represent information that is not wholly accurate or worse, for the sake of brevity, leave out important key components -- details that with a little more patience on the part of the green-lighting editors could have easily changed this from a sensationalistic read-and-move-on piece into one that gives the reader more knowledge. Many people have a desire to know what nations in conflict zones are up against when wars are fought where the world's cultural heritage is at risk.
If harried journalists would consult experts, or at least take the time to data-mine the Web for collaborating imagery, we might have more knowledge about what is and isn't happening. I shouldn't have to read a news article and ask myself "did this really happen?". Maybe in the case of conflict antiquities and heritage issues during war, we all should be reminded that that is, in fact, exactly what we should be saying to ourselves.
With the help of many, here is a bit more comprehensive information on the 19 images reported in the CNN article. Feel free to write to me via ARCA's Facebook feed or my Twitter account if any of you have corrections or additional information to report. I am not an expert on the Middle East so if there's something that needs tightening up, let me know.
Great Mosque of Samarra, Iraq
CNN:
"Once the largest mosque in the world, built in the 9th century on the Tigris River north of Baghdad. The mosque is famous for the Malwiya Tower, a 52-meter minaret with spiraling ramps for worshipers to climb. Among Iraq's most important sites, it even featured on banknotes. The site was bombed in 2005, in an insurgent attack on a NATO position, destroying the top of the minaret and surrounding walls."
"The Buddhas of Bamyan, Afghanistan - The most spectacular legacy of Buddhism in the war-torn country, among the tallest standing Buddhas in the world -- the larger at 53 meters, the other 35 -- had survived over 1,500 years since being carved out of sandstone. The Taliban considered the monuments idolatrous and destroyed them with dynamite."
Bamyan? Bamian? or Bamiyan? CNN's fact checkers chose to go with "Bamyan" as the spelling for the Bamiyan valley in central Afghanistan. In terms of accuracy I think it may have been better for the news agencies to refer to the site by the name utilized by UNESCO when describing the cultural Landscape and archaeological remains of the Bamiyan Valley. Also the Buddhas popularly referred to as the "Solsol" and the "Shahmama" aren't buildings as the opening headline for the photomontage describes. They are in fact monuments so lets give this one a pass as the descriptive content is otherwise accurate.
The ancient city of Bosra, Syria
CNN:
"Continually inhabited for 2,500 years, and became the capital of the Romans' Arabian empire. The centerpiece is a magnificent Roman theater dating back to the second century that survived intact until the current conflict. Archaeologists have revealed the site is now severely damaged from mortar shelling."
While
the town located in Southern Syria's Da’ara governorate itself has sustained significant war damage, including mortar
impacts near the ancient Roman theater, the theater itself appears to be ok. Satellite imagery
analyzed for an April 2014 report conducted by the University
of Pennsylvania Museum of Archaeology and Anthropology’s Penn Cultural
Heritage Center (PennCHC) and the Smithsonian Institution, and in
cooperation with the Syrian Heritage Task Force, the Geospatial
Technologies and Human Rights Project of the American Association for
the Advancement of Science (AAAS) showed that there are no visible signs of damage aside from an earthen ramp constructed over a staircase located at the theater's Eastern entrance.
The Great Mosque of Aleppo, Syria
CNN:
"A world heritage site originally built in 715 by the Umayyad dynasty, ranking it among the oldest mosques in the world. The epic structure evolved through successive eras, gaining its famous minaret in the late 11th century. This was reduced to rubble in the Syrian civil war in 2013, along with serious damage to the walls and courtyard, which historians have described as the worst ever damage to Syrian heritage."
By "this" we can assume CNN meant the minaret and not the entire site. Images of the mosque's courtyard have been widely circulated in the press. Heritage for Peace gives a breakdown of the reported damages as "Minaret destroyed, al-Warka library burned, damage to the shrine of Zachariah, extensive damage to courtyard and some galleries". While significant, I wouldn't say that one site realistically reflects the worse damage to Syrian heritage.
Norias of Hama, Syria
CNN:
"These 20-meter wide water wheels were first documented in the 5th century, representing an ingenious early irrigation system. Seventeen of the wooden norias (a machine for lifting water into an aqueduct) survived to present day and became Hama's primary tourist attraction, noted for their groaning sounds as they turned. Heritage experts documented several wheels being burned by fighters in 2014."
Information from Hama indicates that one of the 17 Norias has been damaged, the Noria-Ga’bariyya, which had been previously rehabilitated in 2010 by Hama’s Archeological Authority. According to the DGAM the restored modern wood wheel was heavily damaged at the top, but the original stone base remains intact. The full report is available in English here, and more completely in Arabic here.
Citadel of Aleppo, Syria
CNN:
"The fortress spans at least four millennia, from the days of Alexander the Great, through Roman, Mongol, and Ottoman rule. The site has barely changed since the 16th century and is one of Syria's most popular World Heritage sites. The citadel has been used as an army base in recent fighting and several of its historic buildings have been destroyed."
While a missile attack on August 11, 2012 damaged the citadel’s massive gate and destroyed the iron doors I found no collaborating information that its historic buildings inside -- the Ayyubid palace (built in 1230 and destroyed by the Mongols in 1400), two mosques, a hammam and a rebuilt Mamluk -- have suffered damages.
However, according to the AAAS report, significant damage has occurred south of Aleppo's citadel, the location of many historical government buildings. Structures near the citadel such as the city's Khusriwiye Mosque were demolished and the Grand Serail - the former seat of the Aleppo governor -- was heavily damaged. In addition, the dome of the 15th Century Hammam Yalbougha an-Nasry was destroyed.
Aleppo Souk, Syria
CNN:
"The covered markets in the Old City are a famous trade center for the region's finest produce, with dedicated sub-souks for fabrics, food, or accessories. The tunnels became the scene of fierce fighting and many of the oldest are now damaged beyond recognition, which Unesco has described as a tragedy."
Aleppo’s sprawling Souq al-Madina, as the souks of Old Aleppo are known collectively, is purported to be the largest covered souq in the world. It also hasn't gotten a break in this conflict.
Thanks to a German posting in Wikipedia I have included their photo of a model that shows how substantial the Aleppo souq which may help explain why knowing the exact number of losses is hard to estimate from the safe confines of our respective computers. The labyrinthine souks stretches for eight kilometers an the number of quoted shops it held varies enormously and I have seen numbers as high as 1550. If anyone has any concrete data, I am happy to list it here as well as evidence of how much of the combined souqs have been damaged.
Deir Ez-zor bridge, Syria
CNN:
“This French-built suspension bridge was a popular pedestrian crossing and vantage point for its views of the Euphrates River. It became a key supply line in a battle for the city, and collapsed under shelling. Deir Ez-zor's Siyasiyeh Bridge was also destroyed.”
Again, not a building but it could be considered a monument. Facts check out. In September 2014 Syria's state-run television said government forces were responsible for blowing up the al-Siyasiyeh Bridge over the Euphrates river.
Nimrud, Iraq
CNN
“The ancient Assyrian city around Nineveh Province, Iraq was home to countless treasures of the empire, including statues, monuments and jewels. Following the 2003 invasion the site has been devastated by looting, with many of the stolen pieces finding homes in museums abroad.”
While some objects originating from Nimrod (Kalhu) went missing from the Iraqi capital during the first conflict, we haven't much cultural heritage trafficking information from the actual zone itself. While the area is famous for depicting reliefs purported to show the first documented handshake in human history, recent clashes with ISIS in Nineveh left the Police Director of Nimrud and his son dead.
Despite media reports that looters have used chain saws to carve reliefs depicting scenes from daily life from the walls of the palace and selling pieces on the black market neither Paul Barford in his article "UNESCO on What is happening at Nimrud" or others seem to have come across photographic evidence to support those claims. That’s not to say many important museums around the world don't have substantial collection pieces from Nimrud taken over a hundred years ago as well as pieces looted before the NATO invasion. Science magazine also did some sleuthing reporting on the sale of trafficked Nineveh (Nimrud?) fragments in 2001.
Crac des Chevaliers, Syria
CNN
“The Crusader castle from the 11th century survived centuries of battles and natural disasters, becoming a World Heritage site in 2006 along with the adjacent castle of Qal'at Salah El-Din. The walls were severely damaged by regime airstrikes and artillery in 2013, and rebels took positions within it.”
“It was entirely blown up by ISIS militants in 2014 as part of their campaign against perceived apostasy.”
This one is confirmed via Dr. Sam Hardy’s detailed reporting on this the event as the confirmation of and destruction to the Shrine of Jonah/Mosque of Yunus were unfolding. If you are interested in conflict archaeology, I recommend following Hardy's academic website Conflict Antiquities. If he posts something as fact, it's been checked and crossed checked.
In July 2014 Hardy reported that "it still was not clear how much damage has been done to Jonah’s Mound (Nebi Younis), the archaeological remains on top of which Jonah’s Tomb and the Mosque of Jonah were built."
Khaled Ibn Walid Mosque, Syria
CNN
“The sacred mausoleum has been completely destroyed, and much of the interiors burned.”
“It is feared that Palmyra has now been devastated by looting.”
How does "it is feared" equate to the photo-montage's header of buildings or monuments lost in battle? How about talking about the fact that the Northern Roman Necropolis in Palmyra has been damaged by road construction and the many earthen berms built to provide cover for opposing forces?
Armenian genocide museum, Syria
CNN
“The complex was destroyed by ISIS in 2014.”
Portions of the structure, although receiving damage remain. A breakdown of the events leading to the damage can be found on the Conflict Antiquities website here.
Cyrene, Libya
CNN
“in the wake of Libya's revolution, vast tracts have been bulldozed including its unique necropolis complex.”
Many would argue that Libya isn’t in the Middle East but I will leave the politics of geography aside given Libya's ongoing conflict and cultural significance. I have to say though that the photo chosen is misleadingly dramatic in terms of visuals even if the historic significance of the actual site damage can be seen here on the Archaeology News Network. CNN would have done better to use The Art Newspaper's approach which specified that a mile-long section of the necropolis was flattened "in the hope of selling 500 sq. m parcels to real estate developers."
Museum of Islamic Art, Egypt
CNN
“Shortly after re-opening, a car bomb targeting a nearby police building caused catastrophic damage and forced the museum to close again.”
I wish news sites and even people like myself would try to avoid using unquantifiable terms like “catastrophic” or "significant" or "substantial" and simply list actual damages like UNESCO has in this report on the MIA’s hit. It would give credit to the reader’s ability to discern for themselves what is or isn’t “catastrophic” though in this case, I agree.
Quaid e Azam residency, Pakistan
CNN
“The residency was attacked with rocket fire by a separatist group in 2013, and almost completely demolished. A new structure is being built on the site.”
“The walls, dome and roof were destroyed by Israeli airstrikes during the recent fighting in Gaza”
Some walls and roofing still standing as these photos attest though significant damage was sustained.
'Old Beirut', Lebanon
CNN
“officials say just 400 of 1200 protected historic buildings remain.”
Thought this was a good image slide to conclude on. By the time the Ta’if Accords were signed more than 150,000 Lebanese had died and 1 million individuals had been displaced or had fled the country.
Leading professionals will share their experiences and present their best practices for art related security risks
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Register here and share knowledge, discover trends and meet your peers at ART meets SECURITY taking place from the 4th until the 5th of December 2014 in Bruges, Belgium.
About: Invitation to the symposium on endangered cultural heritage on November 14th
Title: Heritage under Attack (voertaal Engels)
Dear all,
Blue Shield Netherlands and ICOM Netherlands cordially invite you to the Heritage under Attack Symposium on November 14th, 2014 at the Van Braam Houckgeest Barracks in Doorn, from 11:30 to 17:30.
The symposium will focus on the protection of cultural heritage during times of war or disasters. In dangerous situations like these, the protection of humans is the first need and priority. However, the destruction or looting of cultural heritage as part of the human identity, is also a loss for human kind. “There is no culture without people and no society without culture.”(UNESCO)
The occasion of the symposium is the 60th anniversary of UNESCO’s 1954 The Hague Convention on the protection of cultural heritage in the event of an armed conflict. The Blue Shields attached on buildings, are a result of the Hague Convention.
Moderator Louk de la Rive Box guides us through the day. Louk de la Rive Box has a long-term interest in international cultural cooperation, which resulted in being a founding member of the Prince Claus Fund for Culture and Development and of its Cultural Emergency Response Program. Two international key note speakers will share there experiences: Samuel Sidibé, director of the Musée National du Mali and Kateryna Chuyeva, Secretary General of the recently established Blue Shield Ukraine. A series of pecha kuchas are given by Dutch experts addressing rescue missions, disaster preparation, illicit traffic of cultural heritage and the army’s role.
What:
Symposium Heritage under Attack – endangered cultural heritage in times of armed conflicts and disasters
For whom:
Heritage professionals (archives, libraries, built heritage, museums) members of the Dutch Blue Shield network ICOM members, NGOs, Military, Defence specialists, students and individuals interested in the protection of cultural heritage
When:
November 14th, 11.30- 17.30, including lunch
Where:
Van Braam Houckgeestkazerne, Oude Arnhemse Bovenweg 1d, 3941 XM in Doorn. Drinks and Canapé reception at Huis Doorn, Langbroekerweg 10. 3941 MT in Doorn.
by Catherine Sezgin, ARCA blog Editor In "Quirky Matisse exhibit rekindles art mystery in Venezuela" (Reuters, Oct. 28, 2014) Alexandra Ulmer reports on the exhibition of the Henri Matisse painting "Odalisque in Red Pants" next to the "sloppy copy that was put in it's place when the original was stolen" from the Caracas Museum of Contemporary Art sometime between 1999 and 2001:
The theft went unnoticed for months or even years because the robbers replaced it with a forgery. To this day, no one has been charged with the crime nor have its exact circumstances been established.
The Matisse painting was returned to Venezuela in July. The FBI recovered it in 2012 and kept it for two years according to the Miami New Times.
Dr. Roberta Mazza -- who spoke at ARCA's Art Crime Conference this year -- has organized a conference at the University of Manchester for tomorrow, October 25: "The John Rylands Seminar in Papyrology: To Publish or not to Publish".
To Publish or not to Publish?
A Multidisciplinary Approach to the Politics, Ethics and Economics of Ancient Artifacts
10:45-11:00 Welcome/Introduction: Roberta Mazza (University of Manchester)
11:00 -11:30 David Gill (University of Suffolk): What does ‘provenance’ mean?
11:30-12:00 Neil Brodie (University of Glasgow): The role of academics
12:00-12:30 Stuart Campbell (University of Manchester): Mesopotamian objects in a conflicted world
12:30-13:30 Lunch break
Chair: Roslynne Bell (University of Manchester)
13:30-14:00 Roberta Mazza (University of Manchester): Who owns the past? Private and public papyrus collections
14:00-14:30 Chris Naunton (Egypt Exploration Society, London): Association policies: the case of the Egypt Exploration Society
14:30-15:00 Coffee Break
15:00-15:30 Vernon Rapley (V&A Museum, National Museum Security Group, London): ‘Working together.’ Law enforcement and cultural sector, intelligence sharing and cooperation
15:30-16:00 James Ede (Charles Ede Gallery, London): Dealers: trade, traffic and the consequences of demonization
16:00-16:45 The way forward: round table
Discussants include Marcel Marée (The British Museum), David Trobisch (Director of the Museum of the Bible/Green Collection, Washington DC), Nikolaos Gonis (UCL), Campbell Price (Manchester Museum), Nicole Vitellone (University of Liverpool), William Webber (Art Loss Register, London), Donna Yates (University of Glasgow)
EVERYBODY IS WELCOME!
For information e-mail the organizer: roberta.mazza@manchester.ac.uk. Dr. Mazza is a Lecturer in Classics and Ancient History, University of Manchester; Academic honorary curator, Graeco-Roman Egypt antiquities, Manchester Museum; and Research Fellow, John Rylands Research Institute - John Rylands Library. Further information may be found on Dr. Mazza's blog, Faces & Voices.
“We all like to feel useful. Whatever ability we happen to
have, we like to make use of it,” explains Mark Landis in the newly-released
documentary, “Art and Craft,” which traces his career in art forgery. “And
copying pictures is my gift.”
Landis has been in the news since 2010, when it was
discovered that he had donated over one hundred forgeries over a period of
thirty years, spanning forty-six museums across twenty states. Although Landis’
actions could be considered fraudulent, the fact that he never sold his
forgeries makes them legal. “Art and Craft” paints a portrait of Landis’
character that satisfies this contradiction and exposes a motive that is unexpected
yet relatable.
Directed by Sam Cullman, Jennifer Grausman, and Mark Becker,
“Art and Craft” often feels more like a documentary of a performance artist
than that of an art forger. During its New York City release at the Angelika
Film Center last month, the audience scoffed, giggled, and outright laughed in
disbelief as they watched Landis at work. He forged countless images with
undeniable talent, skillfully portrayed generous donors under various aliases,
and teased museums into taking the bait. The genius of Mark Landis lies in the
process of deception as much as in the forged work itself.
Most discovered art forgers are found to be motivated by a
desire for financial gain and for revenge on an unforgiving and fickle art
market. Artists themselves, they use their talents to benefit from the over-dependence
of artistic value on authenticity. Ironically, their soft spots are similar to
those of the museum directors interviewed in the film: art and money.
Landis, on the other hand, is interested in a different kind
of profit. Unlike other art forgers, he claims he does not identify himself as
an artist. Although he enjoys creating copies and duping experts, Landis is
unique in that he gets the most pleasure out of impersonating art collectors.
The friendly attention he receives from museum staff, although likely as
insincere as his act, is what he craves and, ultimately, why he forges. “Art
and Craft” traces this desire to emulate collectors he had seen in 'James Bond' films. In fact, his performances are inspired by the films and TV shows he
watched as a child. He quotes them verbatim, almost as though they were
original thoughts. “Necessity is the mother of invention, but sometimes the
step-mother of deception,” is one such quote taken from "Charlie Chan’s Secret" (1936).
Questions surrounding the future of Mark Landis’ work were
brought up during the Q&A that followed the New York screening of “Art and
Craft”. After having been featured in both a solo exhibition at the University
of Cincinnati and in the film itself, it is clear that Mark Landis will have to
put an end to his “philanthropic” career. Although he is unsure as to what his
next step will be, when asked by an audience member if he would now be
interested in selling his copies, Landis replied, "I may be eccentric, but
I'm not crazy."
Ms. Knop studied art history and visual arts at Columbia University (Class of 2014).
London, October 8 - I had a transcendental experience with art yesterday. I spent more than 2 1/2 hours looking at friezes and sculptures from the Temple of Athena -- those pieces that remain after more than 2,400 years, that once adorned the Parthenon (447 and 432 BC) in Greece. It was my first visit to the British Museum, the first time I'd seen the "Elgin Marbles" and the experience was powerful. I visited the three Greek temples of Paestum in 2009 and felt awed by their grandeur so my first reaction was that I would have liked to have seen these pieces as they were installed in Athens until severely damaged (by a Venetian commander) in the 17th century. My second reaction was as a feminist -- for the profound loss for two sculptures crucial to worshipping the goddess of war and wisdom (as described in the British Museum's excellent audio guide) -- the sculpture of Athena's birth from the head of Zeus and the "colossal statue" of Athena Parthenos constructed in gold and ivory by Phidias, the most famous sculptor of all antiquity. I would have liked my 14-year-old daughter and her best friend to have seen this now lost statue of Athena by Phidias -- for them to witness the power and beauty of a woman as portrayed even in ancient times.
The British Museum provides information about the controversy about the Parthenon sculptures or the "Elgin Marbles" on its website here. I'll just share with you photos of some of the pieces in the exhibit which humbled me with their beauty and perseverance.
Even the back side of these attached sculptures were finished.
These sculptures were reacting to the birth of Athena
from the head of Zeus which would have been to the right.
Each reaction is carefully shown in the position of body.
My favorite -- Aphrodite's reaction to the birth of Athena.
British Museum, South Metope XXVII: "This is composition-
ally one of the most impressive metopes. A centaur pressing
a wound in his back tries to escape, while the Lapith restrains
him and prepares to deliver a final blow. The Lapith's cloak
fans out to provide a dramatic backdrop."
British Museum, South Metope IV: "The heads of these
figures were taken by Capt. Hartmann, a member
of the Venetian army that occupied Athens in 1688.
They are now in Copenhagen."
British Museum, South Metope V: "The centaur's head is in
Würzburg."
At the end of my visit I noticed two signs of gratitude to Barbara and Lawrence Fleischman for their financial support in 1998 for the Parthenon Galleries. Mr. Fleischman, an art dealer, also donated a large portion of his antiquities collection (collected over 40 years) to the J. Paul Getty Villa in Malibu (see his obituary in The New York Times). The plaques read:
The trustees record their thanks to Lawrence A. Fleischman for a generous grant to renew this gallery in 1998.
The trustees record their thanks to Barbara G. Fleischman for a generous grant to this gallery in 1998.
1970 Convention,Australia,Cultural protection,Duncan Chappell,UNESCO
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1970 Convention,Australia,Cultural protection,Duncan Chappell,UNESCO
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