Another review of Sharon Waxman’s new book. Another new book by Nina Burleigh looks at one of the side effects of the endemic trade in de-contextualised unprovenanced artefacts.

From:
Washington Post

Fool’s Gold
How stolen ancient artifacts have turned up in famous museums around the world.
Reviewed by Roger Atwood
Sunday, November 16, 2008; Page BW02

LOOT – The Battle Over the Stolen Treasures of the Ancient World
By Sharon Waxman | Times. 414 pp. $30

UNHOLY BUSINESS – A True Tale of Faith, Greed, and Forgery in the Holy Land
By Nina Burleigh | Smithsonian/Collins. 271 pp. $27.50

Early this year, officials at the Metropolitan Museum of Art trussed up one of the prizes of its collection, an ancient vase known as the Euphronios krater, and sent it back to Italy. Italian authorities had presented evidence that the piece had been looted from a tomb near Rome less than a year before the Met paid $1 million for it in 1972. Faced with the prospect of a lawsuit and a ban on receiving any future loans from Italian museums, the Met, writes former Washington Post and New York Times reporter Sharon Waxman, “stalled, stonewalled, and would not be swayed — until it was forced to do so.”
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Sharon Waxman’s book on the looted artefacts filling some of the world’s greatest museums is getting quite a bit of media attention. Its position is almost completely the opposite of that taken by James Cuno in his book published earlier this year. In many ways it could be said that Cuno represents the view of the museums whilst Waxman ‘s view is more closely aligned to that of the general public. In countries such as Britain though, a large amount of the funding for the largest museums comes from tax payers via the government – so surely these institutions should be doing more to reflect what the public expects of them?

From:
New York Times

Art of the Steal
By HUGH EAKIN
Published: November 7, 2008

Loot is an ugly word. Derived from ­Hindi and Sanskrit, it emerged in British India, where it no doubt proved useful in describing some of the more sordid transactions of empire. In the 20th century, it was applied to Jewish art collections systematically plundered by Hitler and, later, to electronics pilfered from shop windows during the 1992 Los Angeles riots. Most recently — and perhaps most provocatively — it has been wielded against well-to-do American museums whose pristine specimens of ancient civilizations have with shocking frequency turned out to be contraband.
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Another review of Sharon Waxman’s book on the looted antiquities that fill many museums of the West.

From:
Boston Globe

Golden fleeces
For centuries the West has plundered the treasures of the ancient world; now some nations are fighting back
By Michael Kammen
November 9, 2008

LOOT:The Battle Over the Stolen Treasures of the Ancient World
By Sharon Waxman
Times, 414 pp., illustrated, $30

Have you ever wondered why the Rosetta stone (so crucial to our understanding of Egyptian hieroglyphics), discovered by Napoleon’s army in 1799, is situated in the British Museum? Or why a Babylonian stele called the Code of Hammurabi, the earliest known legal code in human society (“an eye for an eye”), is located in the Louvre in Paris? Or how the beautiful bust of Egyptian queen Nefertiti ended up as the showpiece of a Berlin museum?
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Sharon Waxman’s book questions the ideology that many of the West’s great museums are based on. Should we accept now that the world has moved on & that it is time start rethinking our museums?

From:
Time

The Skimmer
Who Owns Ancient Treasures?
By Gilbert Cruz Thursday, Nov. 06, 2008
Loot by Sharon Waxman

Loot: The Battle over the Stolen Treasures of the Ancient World
Sharon Waxman
Times Books; 414 pages

The Gist:
The great museums of the world are stuffed with spoils of war. They’re crammed with stolen relics and permanently borrowed treasures, beautiful icons obtained through shady means and cultural riches that their countries of origin want back — right now. In her look at the debate over who owns ancient art, Waxman, a former Hollywood reporter for the New York Times profiles four museums—the Louvre, the British Museum, the Metropolitan Museum of Art, and the J. Paul Getty Museum—and poses the question, “Shall we empty [them] because one source country after another seeks the return of treasures past?”
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James Cuno & Lord Renfrew discuss where ancient artefacts are best displayed, James Cuno has made his view clear on a regular basis in recent months. Lord Renfrew previously ran the Illicit Antiquities Research Centre at Cambridge University.

If you go the BBC website, you can listen to the original interview.

From:
BBC News

Page last updated at 09:57 GMT, Wednesday, 5 November 2008
Who owns our ancient past?

What should be done with objects from antiquity, when their provenance is uncertain?

From the debate over the British Museum’s Elgin Marbles, to the conviction of art dealer Giacomo Medici in 2004 for selling millions of pounds worth of stolen Italian antiquities on the international market, curators face a minefield when acquiring new objects.
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Another review of Sharon Waxman’s new book about the looting that fills the museums of the West.

From:
Dallas Morning News

‘Loot’ by Sharon Waxman: Author delves into the plundering of antiquities
12:00 AM CDT on Sunday, November 2, 2008
By ALEXANDRA WITZE / Special Contributor to The Dallas Morning News
books@dallasnews.com Alexandra Witze is chief of correspondents for America for the science journal Nature.

Classical scholar Marion True, a curator at the J. Paul Getty Museum in Los Angeles, was a leading light in the museum world, until her passion for antiquities landed her in court in Italy.

In a bizarre series of events starting in 2005, Italian prosecutors pursued her for allegedly covering up earlier transactions in which the Getty had bought looted artifacts for its collection. Yet Ms. True had long fought against the murky underworld of smuggled antiquities, and many now feel she became a scapegoat in an ongoing battle between august Western institutions and the often-poorer countries from which the world’s great artifacts were taken.
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In recent years, peple have started to ask more & more questions about how museums have acquired some of the artefacts in their collections. It is also clear that some of the museums are finding themselves in very uncomfortable situations because of this.

From:
Kansas City Star

Posted on Sat, Oct. 25, 2008
Ethical questions haunt museums’ acquisition of antiquities
By STEVE PAUL
The Kansas City Star

W hen the Nelson-Atkins Museum of Art announced last year that it had acquired a colorful, ancient Egyptian coffin, officials presented a small sheaf of paperwork affirming that all was on the up and up.

This was no back-door, black-market deal involving improperly exported cultural patrimony, the documents were meant to say.
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A new book by Sharon Waxman looks at how many museums of the West have relied heavily on looted artefacts to build up their collections, even in comparatively recent times.

From:
Truthdig

Book Review
Karl E. Meyer on Sharon Waxman’s ‘Loot’
Posted on Oct 24, 2008
By Karl E. Meyer

I devoured “Loot: The Battle Over the Stolen Treasures of the Ancient World” with particular zest, having published in 1973 an earlier account of the same cultural underworld, “The Plundered Past.” A seasoned reporter with an Oxford degree in Middle East studies, Sharon Waxman has updated and surpassed my explorations, in part because the outcry over the illicit traffic has reached fever pitch, provoking voluble, angry and indiscreet utterances from curators, collectors, dealers and a new breed of watchdogs, viz.:

“You end up thinking we’re all a bunch of looters, thieves, exploiters, that we’re some kind of criminals … but who would be interested in Greek sculpture if it were all in Greece? These pieces are great because they’re in the Louvre.” So protests Aggy Leroule, the Louvre’s press attaché, and so complain directors, trustees and publicists at the many great temples of art and archaeology. Yet there are also dissidents, an unlikely example being Thomas Hoving, once the acquisition-obsessed director of the Metropolitan Museum of Art and now a fallen Lucifer who recalls, almost with relish, his prevarications past.
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Jonathan Downs, the author of Discovery at Rosetta, which I mentioned a few weeks ago, has kindly sent me the text of the concluding chapter of this book. This chapter looks at the case for the return of the Rosetta Stone to Egypt – both its legality & the arguments surrounding it. The case for the restitution of the Rosetta Stone has a lot of parallels with the Parthenon Marbles – their acquisitions were roughly contemporaneous, they both came from outposts of what was at that time the Ottoman Empire, They both ended up in the British Museum.

The author has also offered to respond to any queries that people make in the comments on this message.

From:
Jonathan Downs (by email)

The following is an extract from Discovery at Rosetta (by Jonathan Downs, Constable, 2008, pp.210-215) outlining the current status of the Rosetta Stone, the facts governing its legal ownership and its possible repatriation to Egypt:

THE ROSETTA STONE: A PROUD TROPHY?

Despite the Rosetta Stone’s public profile, historically its status as an exhibit in the British Museum has not been nearly as contested as that of the ‘Elgin’ or Parthenon Marbles. To many it is immediately recognizable and more memorable than the sculptures that were formerly part of the Athenian Acropolis. This is understandable; until the end of the 1990s the Rosetta Stone rested on an angled frame close to the entrance of the museum – unavoidable, it was one of the first objects to be encountered, and crowds of visitors have gathered round it for the past two hundred years. Cleaned by conservators, it now occupies an equally prominent position in the centre of the Egypt collection by the Great Court entrance, upright within a protective case, still one of the most famous objects in the world. Before the arrival of the antiquities from Egypt in 1802, the British Museum contained little grand sculpture, its halls filled chiefly with smaller curiosities. The acquisition of the Rosetta Stone and the cargo from the Alexandria victory was an important step in the development of the institution.
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Christopher Hitchens has long been a strong supporter of the return of the Elgin Marbles & a third edition of his book on the subject (with revised preface) has recently been published. He talks here about why he still believes that it is imperative that the sculptures must return & the impact of some recent events on the issue.

From:
The First Post (UK)

October 6, 2008
Greece has the right to the Elgin Marbles
Christopher Hitchens tells Christina Borg why the marbles must be returned to Athens

Two weeks ago, at the New Acropolis Museum in Athens, due to open early next year, the Presidents of Italy and Greece took part in an historic ceremony (right) that could have major repercussions for Britain. The Italians were handing back to the Greeks a fragment of marble sculpture taken from the Parthenon 200 years ago. The fragment portrays, in exquisite detail, the draped lower leg and foot of a seated goddess, probably Artemis.

It had been removed by the notorious Lord Elgin, the British ambassador to the Ottoman Empire which was occupying Greece at the time. Elgin gave the fragment to the British Consul-General of Sicily and it ended up in the Salinas Museum in Palermo.
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Another review of James Cuno’s book on why museums should be holding onto cultural property of questionable provenance.

From:
The Australian

Back to the source
Ingrid D. Rowland | October 04, 2008

Who Owns Antiquity? Museums and the Battle Over Our Ancient Heritage
By James Cuno
Princeton University Press, 228pp, $US24.95
The encyclopedic museums’ argument against repatriation of classical artefacts is self-servingly flawed, writes Ingrid D. Rowland

EARLY this year, the state apartments of the Palazzo del Quirinale hosted a remarkable exhibition of ancient Greek, Roman and Etruscan artefacts, all found on Italian soil but held until recently in museums and private collections in the US, notably the J. Paul Getty Museum and the Museum of Fine Arts in Boston. The exhibition was a diplomatic coup for Francesco Rutelli, the former mayor of Rome, who until April was minister of culture for two years in the left-wing government of Romano Prodi.
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Dr Kwame Opoku responds to this article in Culture Kiosque reviewing James Cuno’s book.

From:
Culture Kiosque

READER COMMENT: A PLEA FOR FAIR AND EQUAL TREATMENT
By Dr. Kwame Opoku

NEW YORK, 21 AUGUST 2008 — Dr. Kwame Opoku, a retired legal adviser in Vienna, Austria, responds to Culturekiosque contributor Alan Behr’s recent review of James Cuno’s new book, “Who Owns Antiquity? Museums and the Battle over Our Ancient Heritage” Princeton University Press).
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