Skip to main content

ADCAEA: who is one of the officers?

I have discussed the Association of Dealers & Collectors of Ancient & Ethnographic Art (ADCAEA) elsewhere. This association has as one of its aims:
  • To educate and inform members on policies and laws that affects the international movement of cultural property
I note that the Treasurer for this association is Joseph Lewis II.

Is this Joseph Lewis II the same one who loaned Egyptian material to the Virginia Museum of Fine Arts? And the same one who loaned Egyptian material to Boston's Museum of Fine Arts (as spotted by Lee Rosenbaum)? And the same Joseph Lewis II who donated material to the Michael C. Carlos Museum (an institution which has been less than forthcoming about the acquisitions)?

Is this the same individual who was linked to the Egyptian coffin that was intercepted in Miami where it was described as 'agricultural products' after being shipped by a Barcelona galerista? (For corrected name.)

And is this the same collector who was named in the Khouli case? (See also Rick St Hilaire with update.)

If the Treasurer of ADCAEA is indeed the collector of Egyptian antiquities, please could ADCAEA release full details (including authenticated collecting histories) of all the donations and loans made by this individual?

After all, ADCAEA has as another of its aims:
  • To promote awareness and understanding of ancient and ethnographic art collecting through open communication with members and the public.

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 …

Sardinian warrior from "old Swiss collection"

One of the Sardinian bronzes of a warrior was seized from an as yet unnamed Manahattan gallery. It appears to be the one that passed through the Royal-Athena Gallery: Art of the Ancient World 23 (2012) no. 71. The collecting history for that warrior suggests that it was acquired in 1990 from a private collection in Geneva.

Other clues suggested that the warrior has resided in a New York private collection.

The identity of the private collection in Geneva will no doubt be telling.

The warrior also features in this news story: Jennifer Peltz, "Looted statues, pottery returned to Italy after probe in NYC", ABC News May 25 2017.

Attic amphora handed back to Italians

The research of Dr Christos Tsirogiannis has led to the return of an Attic red-figured amphora, attributed to the Harrow painter, to Italy (Tom Mashberg, "Stolen Etruscan Vessel to Be Returned to Italy", New York Times March 16, 2017).

The amphora is known to have passed through the hands of Swiss-based dealer Gianfranco Becchina in 1993, and then through a New York gallery around 2000 (although its movements between those dates are as yet undisclosed).

During the ceremony, Cyrus R. Vance, Jr., the District Attorney stated:
“When looters overrun historic sites, mine sacred spaces for prized relics, and peddle stolen property for top dollar, they do so with the implicit endorsement of all those who knowingly trade in stolen antiquities” More research clearly needs to be conducted on how material handled by Becchina passed into the North American market and into the hands of private and public collectors.