Friday, 30 October 2020
Marianne Mödlinger and Christos Tsirogiannis have published a study of armour. It includes a group of 'armor for horses' (inv. 83.AC.7.1–2, 3–4) and two helmets (inv. 83.AC.8.1–2), all placed in 'Southern Italy'. The pieces were purchased from Antike Kunst Palladion in 1983. All six objects appear in the same image from the seized Becchina archive.
It is suggested, "the repatriation of these human and horse armour objects to Italy is the least that the Getty Museum should do".
Mödlinger, M., and C. Tsirogiannis. 2020. "Recent cases of unprovenanced armour in the antiquities market and its clients." Archäologisches Korrespondenzblatt 50: 323–37.
Thursday, 15 October 2020
This presentation will explore how the description of objects by museums and in exhibition catalogues can alert researchers to the workings of the antiquities market. It will use a specific case study of four Roman bronzes that are said to have ‘traveled through the art market’ together: two were acquired by the J. Paul Getty Museum, one by the Cleveland Museum of Art, and the fourth by a North American private collection (and subsequently sold to the Getty). Was the movement of these figures fortuitous or does it indicate something more? The scientific study of the corrosion products suggests that they had shared a similar ‘burial environment’. Moreover, the bronzes are linked by the presence of ‘relatively homogenous’ fragments of red brick or tile embedded in their surfaces. What can we infer from the evidence?
Monday, 12 October 2020
|EPC Kotyle from the Medici Dossier.|
Courtesy of Christos Tsirogiannis.
The kotyle is provided with a history:
- Private Collection, U.K.
- Art Market, U.K.
- with Peter Sharrer Ancient Art, New York.
- Acquired by the current owner from the above, 1997.
It is currently owned by an anonymous 'distinguished private collector'.
Peter Sharrer has been linked with at least one objects that has been returned to Italy: a Roman relief that was returned from Princeton in 2002. Sharrer was also the source for objects acquired by the Fleischmans as well as the Getty, the Michael C. Carlos Museum and Princeton. He is known to have acquired items from Robin Symes.
Why are the UK dealer and private collector anonymous? Are they are unknown? And where is the mention of the anonymous European collector in Christie's history?
Will other museums and collectors who purchased directly or indirectly from Sharrer conduct due diligence on their acquisitions?
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