In a change from looking at current news articles, I have come across two interesting pieces about the Parthenon Marbles from the New York Times in 1890.

If you skim over the rather sycophantic writing style used in the articles, there are a number of interesting aspects to these pieces – firstly, most of the arguments then are exactly the same as they are now – & are answered just as clearly then as they are now.

Interestingly, the two papers in the UK pressing for the return of the marbles were the London Standard (now the Evening Standard) & the Daily Telegraph – two of the papers that are now generally seen as opposing restitution.

Finally, the argument at that time seems in many ways more admirable than it is now – there was no consideration that anything should be asked for in return, & it was suggested that Britain ought to bear any costs of the return – that they were the ones to be doing the honourable thing, rather than getting bogged down in negotiations & exchanges.

The fact that similar argument for return were being used over one hundred years ago ought to finally convince those people who suggest that the clamours for the restitution of the marbles is only a recent phenomenon (with the implication being that if they ignore it then it will go away again).

Read scans of the original articles by following the links below.

New York Times, 21st December 1890

New York Times, 29th December 1890

Sharon Waxman, author of Loot, looks at the Metropolitan Museum’s upcoming change of director & how the museum might handle future cultural property restitution claims.

From:
New York Times

Op-Ed Contributor
How Did That Vase Wind Up in the Metropolitan?
By SHARON WAXMAN
Published: December 1, 2008
Los Angeles

THE imminent arrival of Thomas Campbell as the director of the Metropolitan Museum of Art is much more than a simple changing of the guard after the long tenure of his predecessor, Philippe de Montebello. Mr. Campbell, who will take over one month from today, is a 46-year-old curator from the Met’s department of European sculpture and decorative arts, and he has a unique opportunity to shift the tone of an enduring and increasingly hostile debate in the world of art and museums: Who should own the treasures of antiquity?

Up to now, the parties on either side of this dispute have stood in opposing corners with their fingers in their ears. The governments of Italy and Turkey have filed lawsuits to force the return of plundered and looted artworks. Egypt has threatened to suspend excavation permits if iconic artifacts are not repatriated. Greece has built a new museum in Athens in large part to justify its renewed demands for the return of the Elgin Marbles from Britain.
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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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A new exhibition hosted in the Colosseum, traces how Italy learned the importance of protecting its heritage & the methods used to stop its destruction, beginning in the Renaissance & continuing to the present day.

From:
ANSA (Italy)

2008-10-03 15:36
Colosseum spotlights saved art
Exhibit shows how Italy learned to save its heritage

(ANSA) – Rome, October 3 – A new show at the Colosseum highlights Italy’s strong tradition in preserving its art heritage.

The exhibition, entitled Ruins and Rebirth of Art In Italy, shows how efforts to foil tomb raiders stretch from the Renaissance to the present day, culminating in the formation of Italy’s world-famous art cops, a Carabinieri unit which has worked in Iraq and other countries targeted by traffickers.
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As scientists discover more about the microscopic organisms that live on the surface of many ancient monuments, it is becoming apparent that in some cases they can be causing significant amounts of damage that was previously unrecognised. Various possible solutions are being tested, to try & halt the damage that is being caused to the monuments of the Acropolis in Athens.

From:
New York Times

Microbes Eating Away at Pieces of History
By BINA VENKATARAMAN
Published: June 24, 2008

At Angkor Wat, the dancers’ feet are crumbling.

The palatial 12th-century Hindu temple, shrouded in the jungles of Cambodia, has played host to a thriving community of cyanobacteria ever since unsightly lichens were cleaned off its walls nearly 20 years ago. The microbes have not been good guests.
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Stricter guidelines have been announced by the Association of Art Museum Directors in the USA. These revised guidelines will not of course apply retrospectively to the huge numbers of acquisitions with which many institutions are filled that took place before these guidelines were implemented.

From:
New Yorks Times

Museums Set Stricter Guidelines for Acquiring Antiquities
By RANDY KENNEDY
Published: June 4, 2008

After a year and half of deliberations, the directors of the country’s largest art museums will announce new guidelines on Wednesday for how their institutions should collect antiquities, a volatile issue that has led in recent years to international cultural skirmishes and several highly publicized art restitution cases.

The Association of Art Museum Directors, whose 190 members also include leaders of Canadian and Mexican museums, says the new policy will probably make it even more difficult for museums to build antiquities collections through purchases or, as is more often the case, through gifts and bequests from wealthy private collectors. But they assert that the change will help stanch the flow of objects illegally dug up from archaeological sites or other places.
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A Canadian First Nations group has requested that the British Museum returns some masks that were taken from their ancestors, but the British Museum has declined to consider the case for returning them.

From:
New York Times

ALERT BAY JOURNAL
September 18, 2003
Reclaiming the Stolen Faces of Their Forefathers
By CLIFFORD KRAUSS

ALERT BAY, British Columbia — A local newspaper column last year suggested that the Namgis, a small band of Native Canadians in British Columbia, ought to go to London and steal the Crown Jewels to get some bargaining leverage over the British Museum.

The half facetious idea came after the group had tried diplomacy for several years to get back a beloved wooden mask stolen from them 82 years ago that is now boxed up in a storage room of the museum.
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Many large museums around the world now live in fear of artefacts being removed from their collections, despite the fact, that in many cases the museums themselves are fully aware of the dubious provenance of the works in question.

From:
Chicago Tribune

Posted on Thu, Dec. 19, 2002
Museums balk at returning art objects acquired centuries ago
BY WILLIAM MULLEN
Chicago Tribune

(KRT) – Art museums have been asked to return works stolen by Nazis from wealthy Jews. Native Americans have demanded the return of human remains and sacred objects taken without permission from their ancestors and now in the hands of history museums.

If at first these museums balked at losing some of their most treasured possessions, they soon bowed to both laws and public opinion and repatriated many artifacts.
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More coverage of the declaration on the importance of the Universal Museum – issued without the name of the British Museum included on it, but thought by many to have been masterminded by them. Many have been quick to notice the relevance of this declaration in trying to shore up the British Museums defences for their retention of the Elgin Marbles, against the powerful argument presented by the construction of the New Acropolis Museum in Athens.

From:
News Observer

Wednesday, December 11, 2002 3:26PM EST
World galleries back British Museum in dispute with Greece
By ROBERT BARR, ASSOCIATED PRESS

LONDON (AP) – Several of the world’s leading museums defended the British Museum’s right to keep ancient statues taken from the Parthenon 200 years ago, despite Greek demands for their return.

A letter signed by the directors of 18 museums, including the Louvre and the Metropolitan Museum of Art, said works acquired decades ago have become essential to the museums that house them. “Objects acquired in earlier times must be viewed in the light of different sensitivities and values, reflective of that earlier era,” the statement said.
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