Head of Demosthenes returns to Türkiye

Head of Demosthenes
Source: New York MMA

Back in November I noted that New York's Metropolitan Museum of Art had returned a marble portrait of Demosthenes to Türkiye. The head was acquired in 2012 (inv. 2012.479.9). The stated collecting history (sometimes known as "provenance") is as follows:

Mussienko Family Collection, Maryland, 1973. Sold by Fortuna Fine Arts, New York, to Ariadne Gallery, New York, in 1987. Sold by the Ariadne Gallery to Morris Pinto, New York, before December, 1992. Consigned by Morris Pinto to Christie’s New York, December 15, 1992, lot 14, passed in. Consigned by Morris Pinto to the Acanthus Gallery, New York. Acquired by Renée E. and Robert A. Belfer from the Acanthus Gallery, New York, before 1998. Given by Renée E. and Robert A. Belfer to The Metropolitan Museum of Art in 2012.

The head was published in:

Zanker, P. 2016. Roman Portraits: Sculptures in Stone and Bronze in the Collection of The Metropolitan Museum of Art. New York: Metropolitan Museum of Art. Pp. 36-38, no. 9.

The portrait now features in a press release from the Manhattan DA:

This sculpture originated in Türkiye near the modern city of Izmir and first appeared on the art market in the possession of the New York-based Ariadne Galleries, before passing through the hands of several private collectors until it was donated to the Met in 2012. Ariadne Galleries allegedly falsely claimed that it had bought the Marble Head from Fortuna Fine Arts—claiming to have done so two years before Fortuna Fine Arts even existed. Ariadne and Fortuna, which is currently under indictment in federal court for fraud, also allegedly falsely claimed that the Marble Head had previously been in the collection of Boris Mussienko—a name Fortuna and other galleries allegedly frequently used to create false provenance. Law enforcement seized the Marble Head from the Met in 2025.

For clarification the head was seized in September 2025. For other material associated with "Mussienko" see here.

Again this is a reminder of the need to authenticate the collecting histories before making acquisitions.

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Further returns to Greece from the Met

Source: Hellenic Consulate General in New York

In September 2025 a number of antiquities were seized from New York’s Metropolitan Museum of Art and at least six formed part of the return to Greece announced at the beginning of October. All have been acquired from Andrés A. Mata in 2001 and 2004, and all had been purchased from Fortuna Fine Arts. They include two stone axe heads (2004.342.3–4), a Cretan or Cycladic terracotta jug (2004.342.2), a Cycladic collared jar (2004.342.1), and two iron swords (2001.346, 2001.543). One of the swords was given to the museum in honour of Carlos A. Picón. 

A further piece was mentioned in the press release, an archaic bronze gorgon applique. It had apparently surfaced through Robert Hecht, who sold it to Fortuna Fine Arts. It then added: 

Fortuna then falsely claimed that the Gorgon came from William Froelich, a name frequently used by Fortuna and other galleries in its false provenance. Thereafter, the Gorgon was sold to a private collector who placed the antiquity on loan at the Met. The Antiquities Trafficking Unit seized the Gorgon from the Met in 2025. 

This appears to be the figure that formed part of the exhibition, ‘Dangerous Beauty’, and was identified as coming from the collection of Andrés A. Mata. (The figure can be seen in press photograph of the October 2025 handover.)

Another gorgon applique that passed through Fortuna Fine Arts was acquired by the Carlos Museum at Emory University in 2017: it was a gift of Mata, Sybil and Ed Ralston, and Judy and Michael Steinhardt (2017.025.001). Mata also gave an inscribed bronze hydria rim to the museum in 2014 in honour of Jasper Gaunt (2014.023.001). 

The mention of Froelich is important as it appears, in connection with Fortuna Fine Arts, in the history of a Tarentine limestone funerary relief acquired by the Met in 2013. Froelich and Fortuna came together in the history of a Canosan terracotta figure of Zeus that was withdrawn from a sale at Christie’s. The history also mentions Boris Mussienko. This name appears against a bronze Aphrodite on loan to the Met from a private collector and returned to Italy.

Fortuna then falsely claimed that the Statuette came from Boris Mussienko, a name frequently used by Fortuna and other galleries in its false provenance. Thereafter, the Statuette was sold to a private collector who placed the antiquity on loan at the Met. The Antiquities Trafficking Unit seized the Statuette from the Met in 2025.

The Met seizures may well have serious implications for other collections.

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Returns to Greece from New York's Metropolitan Museum of Art

Source: MMA

The Metropolitan Museum of Art has announced that it returned 12 antiquities to the Hellenic Republic of Greece in October. 

The Metropolitan Museum of Art announced today that it is returning 12 objects to the Hellenic Republic of Greece, including: four pieces of jewelry, two iron machaira (swords), two bronze belt clasps, two terracotta jugs, and two stone axe heads, and one group of silver spirals. The archaeological works range in date from 2700 BCE to 400 BCE. The works range in date from 2700 BCE to 400 BCE. Through the Museum’s cooperation with the Manhattan DA’s office, and as a result of its investigation into Fortuna Fine Arts, the Museum recently received new information that made it clear that the works should be repatriated, resulting in a constructive resolution.

The return is presumably part of this oblique press release from the Manhattan DA that acknowledges help from Fortune Fine Arts. Some of the items can be recognised here.

Although the press release does not give further details (and the press release list is not entirely accurate), these items can be identified as:

• gold pendant, [1999.12] 
• [Until 1999, with Fortuna Fine Arts, Inc., New York]; acquired in 1999, purchased from Fortuna Fine Arts, Inc. Deaccessioned for return to the Hellenic Republic in September 2025.
• two silver bracelets [1991.170.1] [1991.170.2]
• [Until 1991, with Selim Dere, New York]; acquired in 1991, gift of Selim Dere. Deaccessioned for return to the Hellenic Republic in September 2025.
• Gold and silver bracelet, [1993.314]
• [Until 1993, with Selim Dere, New York]; acquired in 1993, anonymous gift. Deaccessioned for return to the Hellenic Republic in September 2025.
• two iron machaira (swords), [2001.346] [2001.543]
• [Until 2001, with Fortuna Fine Arts, Inc.]; acquired in 2001, purchased from Fortuna Fine Arts, Inc. Deaccessioned for return to the Hellenic Republic in September 2025.
• [Until 2001, with Fortuna Fine Arts, Inc., New York]; 2001, purchsed by Andres A. Mata from Fortuna Fine Arts, Inc.; acquired in 2001, gift of Andres A. Mata, in honor of Carlos A. Picon, 2001. Deaccessioned for return to the Hellenic Republic in September 2025.
• two Macedonian bronze belt clasps, [2001.578] [2001.579]
• [Until 2001, with Fortuna Fine Arts, Inc.]; acquired in 2001, purchased from Fortuna Fine Arts, Inc. Deaccessioned for return to the Hellenic Republic in September 2025.
• 2001.579: Purchase, Mrs. Constance Goulandris Gift, in memory of Christos G. Bastis, 2001
• Cycladic or Cretan terracotta jug,  [2004.342.2]
• [Until 2004, with Fortuna Fine Arts, Inc., New York]; June 2004, purchased by Andres A. Mata from Fortuna Fine Arts, Inc.; acquired in 2004, gift of Andres A. Mata. Deaccessioned for return to the Hellenic Republic in September 2025.
• Cycladic collared jar, [2004.342.1]
• [Until 2004, with Fortuna Fine Arts, Inc., New York]; June 2004, purchased by Andrés Mata from Fortuna Fine Arts, Inc., New York; acquired in August 2004, gift of A. Mata. Deaccessioned for return to the Hellenic Republic in September 2025.
• two stone axe heads, [2004.342.3]] [2004.342.4]
• [Until 2004, with Fortuna Fine Arts, Inc., New York]; June 2004, purchsed by Andres A. Mata from Fortuna Fine Arts, Inc.; acquired in August 2004, gift of Andres A. Mata. Deaccessioned for return to the Hellenic Republic in September 2025.
• one group of silver spirals. [1992.367.1–.6a, b]
• [Until 1992, with Selim Dere, New York]; acquired in 1992, anonymous gift. Deaccessioned for return to the Hellenic Republic in September 2025.

Other pieces of interest (not apparently discussed in the press release) include:

• a terracotta figure returned to Italy [2000.39]
• Private collection, England; [until 2000, with Fortuna Fine Arts, Inc.]; acquired in 2000, purchased from Fortuna Fine Arts, Inc. Deaccessioned for return to the Republic of Italy in September 2025.
• See Manhattan DA press release for mention of Fortuna Fine Arts
• a marble head of Demosthenes returned to Türkiye [2012.479.9]
• Mussienko Family Collection, Maryland, 1973. Sold by Fortuna Fine Arts, New York, to Ariadne Gallery, New York, in 1987. Sold by the Ariadne Gallery to Morris Pinto, New York, before December, 1992. Consigned by Morris Pinto to Christie’s New York, December 15, 1992, lot 14, passed in. Consigned by Morris Pinto to the Acanthus Gallery, New York. Acquired by Renée E. and Robert A. Belfer from the Acanthus Gallery, New York, before 1998. Given by Renée E. and Robert A. Belfer to The Metropolitan Museum of Art in 2012. Deaccessioned for return to the Republic of Türkiye in September 2025.

The press release remarks:

As part of a commitment to transparency, The Met has launched object webpages for all restituted works of art, specifying that the object has been returned and to what country.

It would be helpful, in the spirit of transparency, if the so-called provenance team provided more precise information about their returns. A concerted effort to tidy up the "repatriated objects" page would be a start.

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Three gorgons from an Etruscan brazier

Among the returns to Italy from the Michael Steinhardt collection are three bronze feet in the form of gorgons with outstretched arms. The three gorgons appear to have featured in the catalogue for the Royal-Athena Galleries (2012). They were presented with the following history:

One ex Leo Mildenberg collection, acquired in the 1960s; two ex private collection, Ticino, Switzerland, acquired in the 1960s.

According to the legal papers relating to the Steinhardt case, Jerome Eisenberg acquired the bronzes for $105,000 from Jurgen Haering Gallery of Freiberg at the Basel Ancient Art Fair (November 2010). 

But what about the earlier history? The bronzes are reported to feature in the Becchina archive. The legal paperwork suggests that Becchina sold them to Vincenzo Zuchetto for SF 100,000 (May 1, 1985). It is unclear when the bronzes moved to Freiberg. The legal papers suggests that Haering claimed that the feet came from the ‘collection Mildenberg, Zurich, Switzerland, since the 1960s’. 

The legal paperwork makes interesting reading. It is stated that while the gorgons were still in the hands of Royal-Athena Galleries, Erdal Dere, owner of Fortuna Fine Arts, contacted Steinhardt claiming that the feet were in the possession of Verena Brunner who would not part with them for $125,000 (September 4, 2014). The very next day the gorgons were sold to Fortuna Fine Art for $130,000 (September 5, 2014) and on the same day Fortuna Fine Arts sold them to Steinhardt for $150,000 (September 5, 2014). The invoice from Fortuna fine Arts is claimed to state:

Ex. Old Private European Collection (Ticino, Switzerland, 1960s). Ex. Dr. Leo Mildenberg Collection, Switzerland 1960s to Verena L. Brunner, Niece of Dr. Leo Mildenberg. Michigan 1980s to Present.

The story then gets more complicated. The Manhattan DA's investigation then discovered that Mildenberg's niece, Verena Brunner, had never apparently spoken to Erdal Dere, and that she had not seen the gorgons until she was shown a photograph as part of the Steinhardt investigation. The Manahttan DA also contacted the executor of the Mildenberg estate who stated that the gorgons had not formed part of the estate. It was also suggested that gorgons would not have been the sort of object that would have been collected by Mildenberg.

How did these gorgons enter the market? What is the evidence that they formed part of the Mildenberg collection? How and when did they pass, or were supposed to pass, from the Mildenberg and two private collections to Becchina? What is the authenticated documentary evidence?

I am grateful to Associate Professor Christos Tsirogiannis for discussing this with me.

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