Skip to main content

Madrid and the Schinoussa Archive

The curatorial authorities at the Museo Arqueologico Nacional, Madrid are under increasing pressure to resolve the case of the 22 items acquired for their collection that appear to have been derived from Giacomo Medici and Gianfranco Becchina.

One of the amphorae in dispute first surfaced in the collection of the film producer Joseph E. Levine. The amphora seems to be the one that appears covered with deposits, apparently fresh out of the tomb, in a polaroid from the Medici Dossier. So how did the amphora move from Medici to Levine?

The answer seems to lie in the Schinoussa Archive. Images of a freshly cleaned amphora appear in the dossier. It would appear that the amphora was handled by Robin Symes. (And was he the last in the network of dealers?)

There is a far more fundamental question that Madrid needs to answer. How was the museum able to acquire a major collection antiquities of recently-surfaced antiquities in 1999 without ensuring their collecting histories? Remember that this was in the period after the revelations of the Geneva Freeport Raids and the dispersal of antiquities through a certain auction-house through the London (and was it only London?) market.

Image
Attic black-figured amphora from the Schinoussa Archive. Courtesy of Christos Tsirogiannis.

Bookmark and Share so Your Real Friends Know that You Know

Comments

Popular posts from this blog

Marble bull's head from the temple of Eshmun

Excavations at the temple of Eshmun in Lebanon recovered a marble bull's head. It is now suggested that it was this head, apparently first published in 1967, that was placed on loan to New York's Metropolitan Museum of Art (Tom Mashberg, "Met Museum Turns Over Another Relic With Disputed Past to Prosecutors", New York Times August 1, 2017 ). The head is reported to have been handed over to the Manhattan district attorney after a request was received from the Lebanese authorities.

It is suggested that the head may have been looted from an archaeological storage area at Byblos in the 1980s during the Lebanese civil war. Mashberg has rehearsed the recent collecting history:
The owners of the bull’s head, Lynda and William Beierwaltes of Colorado, say they have clear title to the item and have sued Manhattan prosecutors for its return.  The Beierwaltes bought the head from a dealer in London in 1996 for more than $1 million and then sold it to another collector, Michael …

The Getty Kouros: "The moral is, never ever buy a piece without a provenance"

In the wake of the 1992 Athens conference to discuss the Getty kouros (85.AA.40), one of the delegates, a "distinguished" American museum curator, was quoted ("Greek sculpture; the age-old question", The Economist June 20, 1992):
The moral is, never ever buy a piece without a provenance.
The recent discussions about the return of antiquities from North American museums to Italy and Greece may seem far removed from the acquisition of what appears to be a forged archaic Greek sculpture in the 1980s. However, there are some surprising overlaps.

The statue arrived at the Getty on September 18, 1983 in seven pieces. True (1993: 11) subsequently asked two questions:
Where was it found? As it was said to have been in a Swiss private collection for fifty years, why had it never been reassembled, though it was virtually complete?
A similar statue surfacing in the 1930s
A decision was taken to acquire the kouros in 1985. The official Getty line at the time (and reported in Russell…

The Getty kouros: a modern creation?

The refurbished galleries of the J. Paul Getty Museum no longer include the Getty kouros, a sculpture purchased in 1985 (Christopher Knight, "Something's missing from the newly reinstalled antiquities collection at the Getty Villa", LA Times April 19, 2018). Knight explains:
Unexpectedly, the Getty kouros, a controversial sculpture even before the museum acquired it more than 30 years ago, has been removed from public view. The work is now in museum storage.   For decades, the life-size carving of a standing nude youth carried one of the most distinctive labels of any work of art in an American museum: “Greece (?) about 530 B.C. or modern forgery.” The label encapsulated puzzling issues about the work, whose questionable status as dating from the archaic dawn of Western civilization had been the focus of scholarly and scientific research, debate and international symposiums for years. It is ten years since I provided an overview of the kouros here on LM. And over 20 year…