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Showing posts with label The Metropolitan Museum of Art. Show all posts
Showing posts with label The Metropolitan Museum of Art. Show all posts

December 17, 2023

Lost Time, Found Art: The Decade-Long Pursuit of Restitution for Antiquities Smuggled by Douglas Latchford at the Metropolitan Museum of Art

In 2013 the Metropolitan Museum of Art restituted two,10th-century, Koh Ker stone statues, known as the “Kneeling Attendants” to Cambodia.  These artefacts had been donated in separate stages to the Museum in the late 1980s and early 1990s and had been associated with antiquities collector-dealer-trafficker Douglas Latchford, a/k/a “Pakpong Kriangsak”, who for 50 years, was once considered one of the world’s leading authorities on Asian Art before his unmasking. 

As early as 2012, Bangkok-based Latchford had already been identified in a civil lawsuit, as a middleman in the trafficking of looted Khmer sculptures from “an organized looting network” and was said to have conspired with the London auction house Spink & Son Ltd., to launder looted temple antiquities. 

Douglas Latchford's
Facebook photo
on 28 October 2017,
two years
before he was indicted.
On 21 December 2016, following months of interviews with confidential informants, and the examination of thousands of emails and other seized documents, as well as years of investigations into international smuggling networks, the office of the New York District Attorney's Office in Manhattan filed criminal charges against New York antiquities dealer Nancy Weiner, stating that she used her gallery “to buy, smuggle, launder, and sell millions of dollars’ worth of antiquities stolen from Afghanistan, Cambodia, China, India, Pakistan and Thailand.” In their complaint, it was documented that Weiner “and her co-conspirators, [one of whom was Douglas Latchford], trafficked in illegal antiquities for decades.”  (New York/Manhattan Wiener complaint, p. 2) .

In 2019 charges were filed in the United States against the then 88 year old Latchford by Assistant U.S. Attorney Jessica Feinstein, in the Office’s Money Laundering and Transnational Criminal Enterprises Unit, for his purported role in "wire fraud, smuggling, conspiracy and related charges pertaining to his trafficking in stolen and looted Cambodian antiquities." Many of the suspect objects mentioned in his 25 page indictment passed through his hands en route to the Met and other important collections, during the course of his business operations.  Latchford died on 2 August 2020 before he could be extradited to the United States and his indictment was formally dismissed, due to his death, the following month. 

Last Friday, the United States authorities announced that the Met would be returning fourteen more pieces to Cambodia, dating from the ninth to the 14th centuries, plus an additional artefacts to Thailand.

The pieces going home to Cambodia are:

This 7th century CE pre-Angkor period sandstone Head of a Buddha, which was purportedly with implicated New York dealer Doris Wiener from 1984–2005 until she gifted it to the Metropolitan Museum of Art in 2005, upon which it was given Accession Number: 2005.512.  


This 10th - 11th century CE copper Bodhisattva Avalokiteshvara Seated in Royal Ease. It was given Accession Number: 1992.336 when it was purchased directly from Douglas Latchford using funds from the Annenberg Foundation Gift. 


This 11th century sandstone Standing Female Deity, (probably Uma), Accession Number: 1983.14 was sold by Douglas Latchford to Spink & Son Ltd., London,  who in turn sold it onward to the Metropolitan Museum of Art. 

This 10th century sandstone Standing Female Deity, which was given Accession Number: 2003.605. This artefact was purportedly with Doris Wiener from 1998 through 2003.  Various saved accession record dates show it was either donated to the Metropolitan by Doris Wiener, in honour of Martin Lerner or was purchased through this New York dealer. 

This partially fragmented 930 - 960 CE  bronze Face from a Male Deitycame to the museum via a Latchford donation in honour of Martin Lerner.   It was given Accession Number: 1998.320a–f.


This ca. 920–50 CE stone Head of a Buddha, was also donated to the museum by Douglas Latchford in 1983 (with no provenance listed), where it was given Accession Number: 1983.551. 

This 10th century, Angkor period bronze Head of Avalokiteshvara, the Bodhisattva of Infinite Compassion was in circulation with Spink & Son Ltd., London until 1998, when it was then sold to an undisclosed private collector who donated the artefact to the Metropolitan the same year, and was given Accession Number: 1998.322.

This 11th century, Angkor period, bronze Four-Armed Avalokiteshvara (Bodhisattva of Infinite Compassion)  This bodhisattva is often depicted with multiple heads and arms symbolising his limitless capacity to help alleviate grievances and is venerated as the ideal of karuna, the willingness to bear the pain of others.  Given Accession Number: 1999.262, the statue was directly purchased by the museum from Douglas Latchford via funds from Friends of Asian Art Gifts, Cynthia Hazen Polsky Gift, and Josephine L. Berger-Nadler and Dr. M. Leon Canick Gift. 


This 11th century architectural Lintel with Shiva on NandiAccession Number: 1996.473. This doorway topping was previously purchased in 1993 by Steven M. Kossak, owner of the prominent "Kronos Collections", who then loaned the piece to the Met for three years before eventually donating it to the museum in 1996. 


This late 9th century, stone Angkor period, Khmer style of Bakong, Headless Female Figure, Accession Number: 2003.592.1, is said to have been in the possession of Latchford's friend, Alexander Götz.  Originally living in Bali, then for a time in Germany, Götz and his family moved to London in 1990 where he opened a gallery specialising in Southeast Asian art, with Indonesia as the main focus. He closed his London gallery in 2015 and has since moved back to Indonesia.


This late 12th century, stone Angkor period, Standing Eight-Armed Avalokiteshvara, the Bodhisattva of Infinite Compassion. Given Accession Number: 2002.477, this stature was sold by Douglas Latchford to Jeffrey B. Soref, heir to the Master Lock fortune, who sits on the Board of Directors at the Metropolitan.  Soref in turn loaned his purchase to the Met from 1999–2002 before gifting it to the museum in 2002.  Authorities in Cambodia had received information from a reformed looter named Toek Tik, who admitted to personally stealing this, as well as other artworks from Cambodia over a span of 20 years during his time as a smuggler.


This 7th–8th century, bronze pre-Angkor period, Ardhanarishvara (Composite of Shiva and Parvati), depicts the god as half male and half female representing the Shakta as worshipper and Shakti as devotee relationship which gives the Ardhanarishvara male and female characteristics.  Assigned Accession Number: 1993.387.4 the female side of this sculpture depicts Parvati’s elegant hairstyle and flowing skirt and exposed breast, while the male side gives us half of Shiva’s moustache, as well as his third eye.  Originally, the public accession record listed only the donation of this object as coming from Enid A. Haup (who had purchased and donated another problematic piece).  The more recent the Met's record was updated to state that the statue was sold by Spink & Son Ltd., London to Haupt who gifted it to the Met in 1993.


This 9th century, stone Angkor period depicting the Head of Bodhisattva Avalokiteshvara. Given Accession Number: 1997.434.1, it was previously owned by American pipeline billionaire George Lyle Lindemann, a collector who frequently bought Khmer artefacts from individuals, some of whom were later implicated in the trade and trafficking of Cambodia's cultural heritage.  Lindemann gifted the object to the Met in 1997, who listed the object with no prior provenance, aside from the name of the wealthy donor.


This 11th century, sandstone Angkor period, Male Deity, probably Shiva.  Depicted with four-arms and a high chignon of jatamukuta, wearing a pleated sampot, this statue was given Accession Number: 1987.414.  The Met's website listed that the statue as previously owned by Margery and Harry Kahn who gifted the object to the Met in 1987 and that the statue "likely formed the centerpiece of a triad in a chapel of an unidentified temple in the vicinity of Angkor Thom.  Its style relates to sculptures recorded from the Baphuon temple, a monumental step-pyramid dedicated to Shiva, built as the state temple by King Udayadityavarman II."

The Artefacts Returning to Thailand are:



This 11th century Gilt-copper alloy, with silver inlay, possibly miss-named statue of a Standing Shivais believed to be the most complete extant gilded-bronze image from Angkor.  Given Accession Number: 1988.355, it belongs to a small group of metal sculptures of Hindu deities associated with royal cult practices that were discovered in Khmer territories including Cambodia and northeastern Thailand.  The statue was purchased by Walter H. and Leonore Annenberg via Spink & Son Ltd., London in 1988 and donated that same year to the Met. 


This 11th century bronze inlayed with silver and traces of gold statue of a Kneeling Female Figure, perhaps a Khmer queen, who kneels in a posture of adoration with arms raised above her head and palms pressed together.  Given Accession Number: 1972.147, she was sold to the museum by Doris Wiener. 


When the Metropolitan Museum of Art announced the return of 16 Khmer sculptures to Cambodia and Thailand known to be associated with Douglas Latchford with great fanfare on "X" the social media site formally known as twitter it stated that :

"Every one of the 1.5 million objects in our collection has a unique history, and part of the Museum’s mission is to tell these stories. When, how, and where was it created? Who made it and why? What was going on at that time and place in history? The Met also examines the ownership history or provenance: where has the object been and in whose care?" 

and that through research, transparency, and collaboration, the museum was committed to responsible collecting and goes to great lengths to ensure that all objects entering the collection meet its strict standards. 

ARCA would like to underscore that it took the Metropolitan Museum of Art from 2013, when the “Kneeling Attendants” were first relinquished to Cambodia, through the Nancy Weiner and Douglas Latchford's respective indictments of 2016 and 2019, alongside numerous gentle, and then more insistent requests by Cambodia, as well as the continued campaigning of heritage activist groups before the museum moved forward with their restitution on Friday, a decade later.

It is worth remembering that there is an imperative need for justice and ethical stewardship by institutions responsible for the world's cultural heritage and it should not take ten years for a museum, the size and scope of the Metropolitan to do-the-right-thing.  Prolonged processes only contribute to the perpetuation of injustice and swift restitution is essential for rectifying historical wrongs, fostering international cooperation, and preserving the cultural identity of affected communities. Lengthy delays such as this one serve to exacerbate diplomatic, as well as cultural, tensions and perpetuate a sense of cultural entitlement on the part of certain western museums. 

When illicitly acquired objects are identified in a museum's collection, expedient restitution processes are the litmus test which, in ARCA's eyes, truly serve to demonstrate a museum's genuine commitment to holding themselves accountable to their past acquisitions.  When doing so, they foster goodwill among the claimants,  and serve as a positive example which in turn amplifies and reinforces the importance of respecting rightful ownership when it comes to cultural treasures. 

To end on a positive note, ARCA is pleased to see that the Metropolitan Museum of Art has taken a step forward in its documentation protocols and has elected to leave the accession records for these relinquished objects online and visible to the public with notations of "Deaccessioned by The Metropolitan Museum of Art for return to the Kingdom of Cambodia, 2023 or Deaccessioned by The Metropolitan Museum of Art for return to the Kingdom of Thailand, 2023."  This action promotes transparency and accountability in the global effort to combat the illicit trade of cultural artefacts.

One small step for a single museum, one giant leap for museum archival documentation. 

By:  Lynda Albertson

January 31, 2018

ICOM releases its newest Red List for the country of Yemen in New York today


For decades, ICOM – the International Council of Museums has continued its fight against illicit traffic in cultural goods with the publication of its Red Lists of endangered cultural assets.  These lists, which are extremely effective reference tools, illustrate endangered categories of archaeological objects and works of art from specific geographic regions that have a greater potential for being traded illegally.

Produced as a handy-sized, illustrated poster, each Red List help customs authorities, law enforcement agencies, auction houses, museums, dealers and other parties of the importance identify the general types of archaeological, ethnographic, religious and historic objects likely to be looted from cultural sites, stolen from museums and religious institutions, and subject to illicit trafficking.

To date ICOM has created 17 Red Lists for:

Afghanistan (2007), Africa (2000), Cambodia (2009), Central America and Mexico (2010), China (2010), Colombia (2010), the Dominican Republic (2013), Egypt (2011), Haiti (2010), Iraq (2003, updated in 2015), Latin America (2003), Libya (2015), Peru (2007), Syria (2013), West Africa (2016) and as of today, Yemen (2018). 

According to France Desmarais, the creator of the Yemen Red List, "Seven of these Red Lists were classified as "Emergency" Red Lists because they concern countries whose movable heritage had suddenly been placed at risk, either due to a natural disaster (as in the case of the earthquake in Haiti in 2010) or armed conflict (Iraq, Egypt, Syria, Libya, Mali and Yemen)."

The Lists are available in English, French, the language(s) of the source country, and as interest requires, languages in countries with a potential for being transit points for illicit trafficking. 

The Emergency Red List of Cultural Objects at Risk – Yemen will be officially presented at the Metropolitan Museum in New York today at 5:00 p.m. The event will take place in the presence of museum and heritage professionals, government and law enforcement representatives and members of the press. 

ICOM President Suay Aksoy and Director of Programmes and Partnerships France Desmarais, who developed the Yemen Red List, will officially represent the organisation on this occasion and will introduce the Red List to the Permanent Representative of the Republic of Yemen to the United Nations H.E. Ambassador Khaled Hussein Alyemany as well as to other attendees. Daniel H. Weiss, President and Chief Executive Officer of The Metropolitan Museum will speak on behalf of the Met’s continued support of ICOM’s mission promote awareness on the categories of objects most at risk of being illicitly trafficked.

The Emergency Red List of Cultural Objects at Risk – Yemen is one of several Red Lists which have been produced and distributed by ICOM with the support of the United States Cultural Heritage Center.  On hand for the event representing the US Government will be Jennifer Zimdahl Galt, Principal Deputy Assistant Secretary for the Bureau of Educational and Cultural Affairs.

Produced with the scientific contribution of international experts and museums from Yemen, the United States, France, Italy, the United Kingdom, and Germany, ICOM's new Yemen Red List identifies categories of Yemeni objects which may be in high demand on the art and antiquities market and which are vulnerable to being looted, stolen or illegally exported, especially given the unrest caused by the ongoing conflict. 

Doing the Right Thing

If you are a collector ARCA strongly encourages you to pay close attention to the provenance and legal documentation of any objects you purchase from  Yemen,  paying special attention to the types of objects which appear on ICOM's Yemen Red List

August 3, 2017

Opensource Reprint: Nekyia “A South Italian Bell-Krater by Python in the Metropolitan Museum of Art”

Given the recent interest in the July 31, 2017 article in the New York Times regarding the Python bell-krater depicting Dionysos with Thyros which was seized by New York authorities from New York's Metropolitan Museum of Art, ARCA has elected to publish Dr. Christos Tsirogiannis' original Journal of Art Crime article, in its entirety.

Originally published in the Spring 2014 edition of the Journal of Art Crime, ARCA's publication is produced twice per year and is available by subscription which helps to support the association's ongoing mission. Each edition of the JAC contains a mixture of peer-reviewed academic articles and editorials, from contributors authors knowledgeable in this sector.

We hope this article's publication will allow ARCA's regular blog readership and the general public to get a more comprehensive picture of this object's contentious origin.

Please note that Tsirogiannis' requested information from the Metropolitan Museum of Art on both the Bothmer's fund and the full collecting history of theis particular krater's recorded collection history on February 7, 2014, three years and five months before its present seizure by New York authorities.   While the researcher did not say, at the time, that the vase had been identified in the Medici archive, given the focus of Tsirogiannis' research, it is safe to assume that the museum should have had an idea why this particular researcher may have expressed an interest in the vase's provenance and its acquisition via the Bothmer Fund. 
----------

Nekyia
“A South Italian Bell-Krater by Python in the 
Metropolitan Museum of Art”

In five images from the Medici archive appears a Paestan bell-krater depicting Dionysos with Thyros and phials.  He is seated, along with a woman playing a double-flute with a bird on her lap, in a cart drawn by the god’s aged companion Papposilenos.  Above Papposilenos appears the bust of a woman with a thyrsos, separated from the rest of the scene by a wavy line. Between this bust and Papposilenos, in direct visual alignment with the end of the  flute played by the woman in the cart, appear the Greek letters *ΥΒΡΩΝ (*UBRŌN: the first letter is uncertain; only one roughly horizontal stroke survives, sloping slightly downward to the right at the level of the centre of the following Y). On the reverse side of the vase, two draped youths are depicted between palmettes identical to those that frame the main scene.

Four of the five Medici images are produced on regular photographic paper, and one is a Polaroid image. Two of the regular images are numbered in pen “4/50” and “4/51”, while the Polaroid is numbered “3/214”. The Polaroid image bears a handwritten note underneath: “H. cm 33,5 RΥΒΡΩΝ”. In all five images the krater is depicted intact, but half of the base and part of its rim are covered with soil or salt encrustations. The regular images present the krater standing on a dark red velvet surface. Also visible in these images is a creased brick-red paper stuck on a white surface leaning against the wall behind the vase; it seems that this is intended to complement the velvet base as a background.

The same south-Italian bell-krater surfaced at a Sotheby’s antiquities auction on June 23, 1989 in New York. The consigner of the krater was not named in the auction catalogue and the object was offered as lot 196, under the general title “Other Properties”. No previous collecting history of the vase was mentioned in the catalogue. The estimation price given was $50,000-80,000. The catalogue entry reads:
Paestan Red-Figure Bell Krater, circa 360-350 B.C., painted with a phlyax scene depicting Dionysos and a Maenad seated in a cart pulled by the satyr Papposilenos, the nickname “Hubris” in Greek above him, Dionysos seated and holding a phiale and thrysos [sic], the maenad playing the double-flute, a dove perched on her lap, Papposilenos’ hairy body indicated by white dots, and wearing red anklets and leopard-skin, the bust of a maenad  floating above holding a thrysos [sic], two draped youths in conversation on the reverse; details in added yellow, red, white, and brown wash. Diameter 14 1⁄2 in. (36.8 cm.) 

Attributed to Python. Cf. Mayo, Art of South Italy, no. 106, and Trendall, Red-figured Vases of Paestum, pls. 92, 98, c-f, 99, 100, c-d, 101, e-f, 105, e-f, 107, a-b; also cf. pl. 89, for a vase by Python where Papposilenos is given another appropriate nickname.

The painter Python, and his colleague and probable teacher Asteas, were the most influential of the Paestan vase painters. 

The object was sold for $90,000 (information received by email from Sotheby’s employee, Mr Andrew Gully on March 21, 2014).

Shortly after the Sotheby’s auction in New York, the vase became part of the antiquities collection at the Metropolitan Museum of Art (henceforth MET). It was given the accession number 1989.11.4. In the MET publication (Picon et al. 2007:239 no.184), the main scene on the obverse is described as follows:

The phlyax scene shows a youthful Dionysos, god of wine, and a flute-playing companion riding a wheeled couch. The draught is provided by an old silenos wearing a fleecy costume under a fawn skin. The inscription above his head reads “Hubris.” The drawing and polychromy, at once  fluent and disciplined, represent Python at his best.

The MET website records that the acquisition was possible due to the “Bothmer Purchase Fund”.

A Tainted Collecting History

Following my previous articles for JAC (Tsirogiannis 2013a-b, discussing antiquities which passed through the hands of Medici), I need not describe at length the implications of the first signifcant fact; the vase appears in the archive of the convicted dealer Giacomo Medici, and no earlier collecting history can be found. It is, however, worth here applying a point made in The Medici Conspiracy on p. 57: the conditions of the photographs themselves confirm that this vase is very likely to have been excavated illegally after 1970 (the date of the UNESCO Convention against illicit trade in antiquities). The bell-krater is photographed using Polaroid technology not commercially available until after 1972; the krater is situated not in its archaeological context with a measuring tool, but with soil encrustations, on an armchair; in the regular photographs, the vase appears against a background whose brick-red colour seems clumsily matched with the dark red velvet surface, the same surface on which Medici photographed several other antiquities which later proved to be illicit and were repatriated to Italy (e.g. the 20 red-figure plates attributed to the Bryn Mawr Painter, once offered to the Getty Museum: see Watson & Todeschini 2007:95-98, 205; Silver 2010:138-139, 143). It is profoundly clear that the bell-krater was not in a professional environment or treated in a professional way.

Sotheby’s does not disclose the names of the consigners or the buyers of objects, as the company stated when contacted in the recent past while I was researching other cases of antiquities lacking collecting history (Tsirogiannis 2013a:7). Mr. Andrew Gully stated in January 2013: “Sotheby’s does not disclose the names of consigners or buyers. In the future, please use that answer as your guide” (email on behalf of Mr. Richard Keresey, Sotheby’s International Senior Director and Senior Vice President, Antiquities). However, the association between Sotheby’s and Medici has been described at length by Watson (1998:183-193) and Watson & Todeschini (2007:27). The first book led to the permanent closure of four departments of Sotheby’s in London, including the antiquities department; the second provides a detailed image of the continuous business between Sotheby’s and Medici during the 1980s.

The MET has a long history of acquiring looted and smuggled antiquities after the 1970 UNESCO Convention. The two most prominent cases were the Euphronios krater acquired in 1972 from the notorious dealer Robert Hecht during the directorship of Thomas Hoving, and the Morgantina treasure acquired in 1981, again from Hecht, during the directorship of Philippe de Montebello. On February 21, 2006, de Montebello signed an agreement in Rome to return both krater and treasure to Italy among 21 antiquities in total (Povoledo 2006). In January 2012, Italy announced the repatriation of c. 40 vase fragments from the MET; Fabio Isman revealed that the fragments matched vases already repatriated to Italy from North American museums, and noted that these fragments previously belonged to the private collection, kept in the MET, of the museum’s antiquities curator Dietrich von Bothmer (Italian Ministry of Culture 2012; Isman 2012).

This collection came to prominence again in 2013, when I matched a rhomboid tondo fragment of a kylix by the Euaion Painter at the Villa Giulia Museum in Rome to fragments from the Bothmer collection (Tsirogiannis & Gill forthcoming 2014). Although the MET did not reply to my email requesting the collecting history of the object (February 26, 2013), in July 2013 the Villa Giulia Museum informed me that the MET planned to return the rest of the kylix to Italy.

That match was made possible because the MET had posted (although they then withdrew) images of the fragmented kylix in the Association of Art Museum Directors (AAMD) Object Registry, a website on which museums can post objects lacking full collecting histories before 1970. The Registry covers only objects formally acquired by museums after 2008, which explains why the Python bell-krater does not appear there (last accessed on April 6, 2014). There is no such Registry for objects acquired in the period 1970-2008 and lacking earlier collecting history, but on the basis of this new identification and published reconstruction of the bell-krater’s collecting history, the MET should accept that this object too should be repatriated to Italy, either voluntarily, following the recent example of the Euaion kylix fragments, or, if it comes to court, following the United States vs. Frederick Schultz verdict, by which U.S. law recognized foreign patrimony law (Silver 2010:249; Renfrew 2010:94).

The Need for Further Academic Research

The identification of the vase in the Medici archive, with the handwritten note below the Polaroid image, not only suggests that the vase has most likely been unlawfully removed from Italian soil, but also highlights discrepancies between published interpretations of the main scene depicted on the vase. Let us look more closely at the scholarly descriptions of the vase to which the MET refers on its website.

The MET website gives three sources of publication for the vase; two from Lexicon Iconographicum Mythologiae Classicae (LIMC) and one from Carlos Picon et al. (2007) Art of the Classical World in the Metropolitan Museum of Art (no. 184, pp. 161, 439). The two references to LIMC turn out to be to the same paragraph, in the supplement to vol. 7, found at the end of vol. 8 (1997:1113, Silenoi no. 20a = “Tybron no. 2”). This reads:

New York, MM 1989.11.4 – Green 93 Abb4.4 - S. Tybron (oder Hybron) Zeiht Dionysos und Auletin auf einem Karren.

This description of the scene gives two readings of the writing on the vase, correctly noting that the  final two letters appear to be Ω N (ŌΝ); the writing is interpreted as a nickname for the old Silenos  figure, using the evidence of a neck-amphora attributed to Python (Trendall 1987: 142, pl.89 no.240) in which Papposilenos appears in the top right corner of an elaborate obverse scene (the birth of Helen from an egg) with the clear inscription ΤΥΒΡΩΝ above. Medici’s vase, it seems, was not known at the time of Trendall’s publication, since Trendall writes (p. 142): ‘this is the  first time [‘papposilen inscribed ΤΥΒΡΩΝ’] has been identifed, though the name is not found elsewhere’. In LIMC, the inscription on the bell-krater is the second such identification but with some uncertainty about the reading (and hence, meaning) of the name.

The LIMC entry, describing Dionysos’ companion on the cart simply as ‘Auletin’, (‘flute-player’), is more neutral in description than the source it cites, John Richard Green in his book Theatre in Ancient Greek Society (1994). Green on p. 93 describes the scene on the krater (pictured in his fig. 4.4), ‘recently acquired’ by the MET, as that of ‘an actor as papposilenos’ pulling Dionysos and ‘Ariadne’ along on a cart (for Green, the bird on her lap is ‘doubtless...a symbol of love’) on a festive occasion, while ‘a maenad keeps them company’. By ‘maenad’ he means the thyrsos-bearing figure in the upper left corner of the scene, separated from the others by a wavy line. Green characterises the vase as “splendid”, referring to it as ‘by Python’, but placing it ‘on the earlier side of the painter’s career.’

There are a number of odd elements in this interpretation; in other vases attributed to Python, busts of figures appearing at the top of the scene, surrounded by a wavy line, are given names (inscriptions above the figures) indicating that they are deities or nymphs (e.g. the red-figured bell-kraters no. GR 1890.2-10.1 and 1917.1210.1 in the British Museum); that is, the wavy line in these cases represents a nimbus and hence the separation of realms. As for ‘Ariadne’, more is needed to support this mythological identification, which is not found in Picon; unlike several Python vases, there are no names on this krater except for the inscription, not mentioned by Green, at the level of the pipes above the Silenos-figure. Finally, Green’s dating of the vase to Python’s earlier period does not find support in the elaborate shape of the palmettes framing the scene, which, detached from the fans below the vase-handles, conform to the ‘standard variety’ rather than the less-developed earlier shapes (for a chronological overview, see Trendall 1987:16). The MET publication, unlike that of Green, refers to the vase as an example of ‘Python at his best.’

Green informs us in an end-note that the vase passed through Sotheby’s in New York, the same year (1989) it was acquired by the museum (Green 1994:192, note no. 8), a fact that is not stated on the MET website. Sotheby’s catalogue is in fact the earliest published attribution of the vase to Python, and the catalogue, although it cites Mayo and Trendall for parallels, does not in this case name the authority for the attribution (as it sometimes does in other cases). While the attribution to Python is most probably correct, the vase is not signed by Python; up to 1987, only two vases signed by Python were known (Trendall 1987:137, 139). It is odd that Sotheby’s cite a parallel in Trendall 1987 (‘another appropriate nickname’ for Silenos) and yet offer the incorrect reading of the inscription as ‘Hubris’, which in turn appears to be the basis for the official description on the MET website (last accessed April 2014) and published by the MET in Carlos Picon et al. (2007:439) (the third bibliographical reference given on the website). The MET too read ‘Hubris’, although citing LIMC, in which we find ‘Tybron (oder Hybron)’. Medici, for all his lack of Greek, did represent the inscription more accurately; the first letter seems to be a T or an H rather than an R, but the fading of the paint makes it uncertain. The ending of the word is more surely ΩΝ (ŌΝ); an abstract quality such as hubris is an unlikely inscription in this context.

It is evident from this outline of the different interpretations that further professional study is required.

Conclusion

We have highlighted both the partial nature of the collecting history given in all published sources, and the differences in the scholarly analyses of the vase. The fact that the MET’s bell krater – only the second vase on which papposilenos is given another name - is not included in Trendall’s 1987 corpus of Paestum vases indicates that the vase surfaced after 1987. However, Trendall’s 1987 reading of the neck-amphora inscription seems not to be exploited either in Sotheby’s reading of the inscription on the bell-krater in 1989 or the reading by Picon et al. in 2007.

Green alone mentions all the sources published at his time. Nevertheless, apart from this vase, there appear in Green’s book images of other vases that later turned out to be illicit (e.g. Green 1994:30,  g. 2.9, an Attic red-figure calyx-krater with two members of a bird chorus about a piper, at the Getty Museum; Green 1994:46,  g. 2.21, a Terentine red-figure bell-krater with comic scene showing a slave and two choregoi with a figure of Aigisthos, formerly in the Barbara and Lawrence Fleischman collection and, later, at the Getty museum); these were likewise depicted in Polaroid images from the Medici archive; they were repatriated to Italy (Godart, De Caro & Gavrili 2008:102-103 and 138-139, respectively).

The MET has several questions to answer. What is the ‘Bothmer Purchase Fund’? It has been proved that Dietrich von Bothmer played a crucial role in the acquisition of archaeological material, looted and smuggled after 1970, both on behalf of the MET and for his personal collection formed during the same period (Gill 2012:64; this obvious conflict of interest was overlooked by the museum; see Felch 2012, Tsirogiannis & Gill forthcoming 2014). My email to the MET (February 7, 2014), querying this point and requesting the full collecting history of the krater, remains unanswered, although it was sent to three different offices. No contact details for the Department of Greek and Roman Art are available on the museum website.

In a wider perspective, the Python bell-krater at the Metropolitan Museum of Art in New York is one of many similar cases. North American museums, recently found to have acquired illicit antiquities, and forced to return those objects, still have in their possession many more. The very museums which advertise their care for transparency, in practice continue to conceal the full collecting history of tainted objects they own, and wait for them to be discovered. In this regard, the story of the Python bell-krater case is absolutely typical.

ARCA's publication is produced twice per year and is available by subscription which helps to support the association's ongoing mission. Each edition of the JAC contains a mixture of peer-reviewed academic articles and editorials, from contributors authors knowledgeable in this sector.
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Author's Acknowledgement: I am grateful to Dr. Helen Van Noorden for her comments and her overall help. My thanks go to Mr Andrew Gully (Sotheby’s) for providing me with the hammer price for the bell krater in the June 23, 1989 auction.

August 1, 2017

Three years in the making: The case of “A South Italian Bell-Krater by Python in the Metropolitan Museum of Art” results in seizure.

On June 1, 2014 this blog published a distilled version of an academic investigation which heavily documented details from an article in the Spring 2014 Journal of Art Crime which highlighted the illicit origin of a possibly trafficked Bell-krater.  The author of the peer-reviewed journal article, Dr. Christos Tsirogiannis, is an expert on illicit antiquities trafficking and objects identification who also teaches with ARCA's as part of our postgraduate art crime program.* 

At the time ARCA published Tsirogiannis' long-form article, the krater was on display in Gallery 161 of the Metropolitan Museum of Art in New York City. Attributed to the artist Python (active ca. 350 – 325 BCE) of Poseidonia (Paestan), the vase depicts Dionysus, the Greek god of wine, along with a flute-playing companion.

By comparing a series of five photos which are part of the confiscated and now infamous Medici archive, Tsirogiannis believed that the krater should be seized from the Met Museum, as the likelihood of it having been looted was quite high.

The photos reviewed by Tsirogiannis were part of the art market records of antiquities dealer Giacomo Medici, convicted in 2005 of receiving stolen goods and conspiracy to traffic looted antiquities. Given the presence of one damning polaroid in particular, it seemed very probable that this vase had passed through Medici's known network of suppliers who dealt in looted objects.

Medici polaroid of Python's bell-krater
The Polaroid SX-70 camera model was a boon in DIY photography, but the point and shoot camera did not arrive on the European market until 1972. As the new technology produced clear images with no separate negatives, its ready-in-a-instant photos could not be manipulated or altered.  They also didn't require a visit to a risky photo lab in order to develop rolls of film, making them perfect for amateur pornographers.

But the Polaroid SX-70 also became the camera of choice among many Italian looters of the period. The camera's instant photo capabilities meant traffickers too didn't have to worry about the photomat attendant making extra copies or notifying the authorities if their photos were deemed suspicious. By bypassing the film developing stage, the Polaroid photos could be shared directly between looter, middleman or antiquities dealer directly reducing the chance of detection.  This advent of this type of photography offered traffickers and their dealer counterparts with authentic and voyeuristic antiquities porn, which often memorialized the harsh reality of the looters handiwork.

Many such images, as with a Polaroid picture of Python's bell-krater, were found in Medici's confiscated business records.  In other repatriation cases, these photos have been used in evidentiary proceedings to establish object identifications and as documentation of the passages the object took from looter to dealer to the licit market.  So while the photos once were a book for the criminal they now serve law enforcement as evidence resulting in antiquities forfeiture from some of the world's most prestigious museums.

Some of the Polaroids in Medici's archive show antiquities in the trunks of cars, spread out on kitchen tables or on floors. In the photo of this particular Bell-Krater, the object appears to have been placed on a rose-coloured upholstered chair or sofa.   This same background surface can be seen in another Medici archive photo analyzed by Maurizio Pellegrini and Daniela Rizzo of Italy’s Soprintendenza Beni Archeologici Etruria Meridionale at the Museo Nazionale Etrusco di Villa Giulia. That identification involved antiquities which were later proven to be illicit and were repatriated to Italy (e.g. plates attributed to the Bryn Mawr Painter, once offered to the Getty Museum).

The 1972 date of the Polaroid SX-70 arrival in Europe is important as it proves that this object was likely dug up after the UNESCO 1970 Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property.  This international treaty was the first international instrument dedicated to the fight against illicit trafficking of cultural property and made it illegal to export cultural property from signatory nations like Italy.  Despite this, the bell-krater arrived to the United States and was auctioned by Sotheby’s in New York on June 23, 1989, selling for $90,000.  This is the same year that the object entered the Met’s antiquities collection, acquired by the museum via the Bothmer Purchase Fund, named for the longtime Met curator who died in 2009.**



But let's take a close look at this object and its photographic records, comparing a second Medici dossier photograph of the bell-krater with its counterpart from the Department of Greek and Roman Art collection online at the Metropolitan Museum.

NOTE:  The "See additional object information" link on this Bell-Krater, which would nominally list any and all collecting information the museum chose to document publically regarding this acquisition, was permanently removed from the Metropolitan Museum website.

Photo Left: from Medici's Archive depicting bell-krater highlighting salt encrustations
Photo Right: Archival Photo from the Metropolitan Museum of Art. 
The Medici archive photo clearly shows the Python Bell-krater with salt encrustations at its base, while the vase's current restored condition in the museum's photo does not.   With this photo comparison we can hypothesize that Giacomo Medici was acutely aware of the vase's existence after 1972 and possibly in direct contact with participants connected with the vase's looting, before the object was restored.

Uncomfortable questions for uncomfortable museums

According to a New York Times article yesterday, July 31, 2017, this bell-krater has been seized by New York State authorities at the behest of an investigation initiated by New York State Attorney Cyrus Vance Jr. and Assistant District Attorney Matthew Bogdanos, to which Tsirogiannis provided detailed information.  A copy of the warrant can be found here.  Treading lightly in its opening photo caption, the NYT's article by Tom Mashberg delicately states that "A vessel known as a krater that the Metropolitan Museum of Art turned in to the district attorney’s office in Manhattan after a warrant was issued last week." This makes the seizure seem almost cooperative in nature, which to me seems a bit generous.

Tsirogiannis emailed the Metropolitan Museum on February 7, 2014, asking that his message questioning the object's origins be forwarded to the curatorial staff for the Department of Greek and Roman Art whose email is not available on the museum's website.  In his email he requested a full collecting history of the krater.  His email went unanswered.

The fact that this case was subsequently published in ARCA's Journal of Art Crime which outlined the museum's failure to respond, then in a blog post published on this blog, and again in a May 2017 journalistic piece in the National Geographic should have elicited some sort of public acknowledgement or rebuttal on the museum's part.   Instead the Met continued with its non-responsive stance with Tsirogiannis and failed to acknowledge the brewing conundrum in a proactive way.

In today's New York Times article Mashberg states

Officials said the museum had noticed Dr. Tsirogiannis’s published research in 2014 and, indeed, had been troubled by the reappearance of Mr. Medici’s name in connection with an artifact. They said they reached out informally to the Italian authorities then, but received no response.

It is not clear what "troubled" and "reached out informally means" or why, given the objects connection with a convicted trafficker and its likely looted state, why the museum didn't attempt to repatriate the object voluntarily.

Page 7 of the AAMD guidelines "Introduction to the Revisions to the 2008 Guidelines on the Acquisition of Archaeological Material and Ancient Art" reads:

"If a member museum, as a result of its continuing research, gains information that establishes another party’s right to ownership of a Work, the museum should bring this information to the attention of the party, and if the case warrants, initiate the return of the Work to that party, as has been done in the past. In the event that a third party brings to the attention of a member museum information supporting the party’s claim to a Work, the museum should respond promptly and responsibly and take whatever steps are necessary to address this claim, including, if warranted, returning the Work, as has been done in the past."

I guess the museum's voluntary informal notification, its only proactive gesture towards an object of concern in three years, could be commended, but to me their actions towards righting a potential wrong were insufficient.  Yes, the museum brought "this information to the attention of the party" by contacting the Italian authorities as mentioned in the NYT article.  But despite this preliminary step, they failed to respond to an academic researcher's request for further clarification on the object's provenance, then removed the object's spartan collection details from their website completely.

Museums can and should do better.  

While the AAMD is committed to the exercise of due diligence and enhanced transparency in the acquisition process, and to demonstrating that accessioned objects in museum collections are out of their country of modern discovery prior to or legally exported therefrom after November 17, 1970, the Metropolitan Museum only adhered to a fraction of the Association's recommended guidelines in its handling of this object.

Passively waiting for a law enforcement seizure, like a wait and watch approach to a potential cancer,  should not be an acceptable protocol with suspect antiquities which documentation has proved require fuller due diligence. Especially when the museum was well informed that there was a brewing issue surrounding the object in question.

By: Lynda Albertson
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*You may read Dr. Tsirogiannis’ article on this object in the Spring 2014 issue of The Journal of Art Crime by subscribing via the ARCA website or ordering the issue through Amazon.com.

** Bothmer played a crucial role in the acquisition of archaeological material, looted and smuggled after 1970, both on behalf of the MET and for his personal collection formed during the same period.

June 1, 2014

The Metropolitan Museum of Art’s Python bell-krater acquired in 1989 matches object documented in confiscated Medici archive, according to forensic archaeologist Christos Tsirogiannis: "The evidence suggests that the vase has most likely been unlawfully removed from Italian soil"

Medici polaroid of Python's bell-krater 
The Classic Greek mixing-bowl attributed to the artist Python (active ca. 350 – 325 BC) of Poseidonia (Paestan) on display in Gallery 161 of the Metropolitan Museum of Art in New York City should be returned to Italy because it has no collecting history before 1989 and has been matched with photographs in the possession of a convicted art dealer, according to the work of looted antiquities researcher Christos Tsirogiannis. (You can see The Met’s description of the object online here ). 

This terracotta bell-krater, described in detail in Dr. Tsirogiannis’ column "Nekyia" in the Spring 2014 issue of The Journal of Art Crime, appears with soil/salt encrustations in five photographs from the confiscated Medici archive – including one Polaroid image. Then, “The object was auctioned by Sotheby’s in New York in June 1989 and the same year appeared as part of The Met’s antiquities collection,” Dr. Tsirogiannis reports.

Medici photograph of Python bell-krater
Art dealer Giacomo Medici was convicted in 2005 of participating in the sale of looted antiquities. The story of how illicit antiquities were sold to art galleries and museums in Europe and North America was detailed in the 2006 book by Peter Watson & Cecilia Todeschini, The Medici Conspiracy: the illicit journey of looted antiquities, from Italy’s tomb raiders to the world’s greatest museums (Public Affairs). The Medici archives (or the “Medici Dossier”)  were described as “thirty albums of Polaroids, fifteen envelopes with photographs, and twelve envelopes with rolls of film … [along with] 100 full rolls of exposed film … [for] a total of 3,600 images” found in Medici’s warehouse of antiquities in Geneva in 1995.

Christos Tsirogiannis and archaeologist David Gill have both written in The Journal of Art Crime (and elsewhere) about ancient objects for sale at auction houses with dubious collecting histories, focusing on information from this “Medici Dossier”. In 2009, Gill wrote in his column “Context Matters” that the raid on Medici’s warehouse drew attention to the scale of looting of archaeological sites in Italy.

Medici close up of Python's bell-krater on display at The Met
In this current case of identification, photographs of The Met’s Python bell-krater in the archive of the convicted art dealer Giacomo Medici suggest – as pointed out in The Medici Conspiracy – along with the lack of earlier documented collecting history that this vase was very likely illegally excavated after 1970 (the date of the UNESCO Convention against illicit trade antiquities), Dr. Tsirogiannis writes in “A South Italian Bell-Krater by Python in the Metropolitan Museum of Art” (Spring 2014, The Journal of Art Crime). He explains:
The bell-krater is photographed using Polaroid technology not commercially available until after 1972; the krater is situated not in its archaeological context with a measuring tool, but with soil encrustations, on an armchair; in the regular photographs, the vase appears against a background whose brick-red colour seems clumsily matched with the dark red velvet surface, the same surface on which Medici photographed several other antiquities which later proved to be illicit and were repatriated to Italy (e.g. the 20 red-figure plates attributed to the Bryn Mawr Painter, once offered to the Getty Museum; see Watson & Todeschini 2007:95-98, 205; Silver 2010:138-139, 143). It is profoundly clear that the bell-krater was not in a professional environment or treated in a professional way.
Fourth photo of Medici's bell-krater
Dr. Tsirogiannis, a Greek forensic archaeologist, 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, he has been identifying antiquities in museums, galleries, auction houses, private collections and museums, depicted in the confiscated Medici, Becchina and Symes-Michaelides archives, notifying Italy's public prosecutor Dr. Paolo Giorgio Ferri and the Greek authorities. He received his Ph.D. at the University of Cambridge on the international illicit antiquities network viewed through the Robin Symes–Christos Michaelides archive.

In this case of The Met's Python bell-krater, Dr. Tsirogiannis questions how the ancient mixing bowl reached Sotheby’s in 1989 (Sotheby’s has a policy of not disclosing the name of the consigners or the buyers of objects). Dr. Tsirogiannis writes:
The Met has a long history of acquiring looted and smuggled antiquities after the 1970 UNESCO Convention. The two most prominent cases were the Euphronios krater acquired in 1972 from the notorious dealer Robert Hecht during the directorship of Thomas Hoving, and the Morgantina treasure acquired in 1981, again from Hecht, during the directorship of Philippe de Montebello. On February 21, 2006, de Montebello signed an agreement in Rome to return both krater and treasure to Italy among 21 antiquities in total (Provoledo 2006). In January 2012, Italy announced the repatriation of c. 40 vase fragments from The Met; Fabio Isman revealed that the fragments matched vases already repatriated to Italy from North American museums, and noted that these fragments previously belonged to the private collection, kept in The Met, of the museum’s antiquities curator Dietrich von Bothmer (Italian Ministry of Culture 2012; Isman 2012).
Fifth Medici photo of Python bell-krater
Dietrich van Bothmer, who had a 60-year career at The Met as a curator and an expert in ancient Greek vases, died in 2009 (here's his obituary in The New York Times).

Dr. Tsirogiannis points out in his column the need for further academic research on the Python bell-krater acquired in 1989:
The identification of the vase in the Medici archive, with the handwritten note below the Polaroid image, not only suggests that the vase has most likely been unlawfully removed from Italian soil, but also highlights discrepancies between published interpretations of the main scene depicted on the vase.
In conclusion, Dr. Tsirogiannis writes in his column:
The Met has several questions to answer. What is the ‘Bothmer Purchase Fund’? It has been proved that Dietrich von Bothmer played a crucial role in the acquisition of archaeological material, looted and smuggled after 1970, both on behalf of The Met and for his personal collection formed during the same period (Gill 2012:64; this obvious conflict of interest was overlooked by the museum; see Felch 2012, Tsirogiannis & Gill forthcoming 2014). My email to The Met (February 7, 2014) querying this point and requesting the full collecting history of the krater, remains unanswered, although it was sent to three different offices. No contact details for the Department of Greek and Roman Art are available on the museum website. In a wider perspective, the Python bell-krater at the Metropolitan Museum of Art in New York is one of many similar cases. North American museums, recently found to have acquired illicit antiquities, and forced to return those objects, still have in their possession many more. The very museums which advertise their case for transparency, in practice continue to conceal the full collecting history of tainted objects they own, and wait for them to be discovered. In this regard, the story of the Python bell-krater case is obviously typical.
In an email to the ARCA blog, Dr. Tsirogiannis wrote that American and Italian authorities have been informed about this identification, and added:
It seems that the Metropolitan Museum of Art in New York, after the identification of the Bothmer kylix fragments and their repatriation to Italy last year, has to do much more work to present all the antiquities that lack a pre-1970 collecting history in its collection, rather than waiting to be confronted with more cases in the future. This will be honest due diligence, not just meaningless words in official statements.
You may read Dr. Tsirogiannis’ column in the Spring 2014 issue of The Journal of Art Crime by subscribing via the ARCA website or ordering the issue through Amazon.com.

Included in this post are the five photographs of the Python bell-krater in the Medici archive.

The Met owns another terracotta bell-krater (mixing bowl) attributed to Python that it purchased in 1976 and has on view in Gallery 171.

Here's a link to a video showing the three Greek temples at Paestum in Southern Italy and another link to a video showing how ancient Greek vases were made out of refined baked clay.