“A Fracture in Time”: A Cup Attributed to the Euaion Painter from the Bothmer Collection

Tsirogiannis, Christos; Gill, David

doi:10.1017/s0940739114000289

Cited by 9 publications

(5 citation statements)

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“…In spite of this, some auction houses continue to offer objects that passed through the hands of Medici (Gill and Tsirogiannis 2011;Tsirogiannis 2013). The highlighting of recently surfaced material through the use of social media, and in particular through the research blog 'Looting Matters' (Gill 2014), has helped to lessen the amount of recently surfaced material that has emerged on the market. Chippindale,C.…”

Section: Resultsmentioning

confidence: 99%

“…These issues gain renewed significance when it is realised that Guy donated a major collection of fragments to Harvard (Paul 1997). Part of the Bothmer collection has been returned to Italy, and associations with pieces in Italy have been made (Tsirogiannis and Gill 2014).…”

Section: The Sources For the Marketmentioning

confidence: 99%

“…The issue of fragments have again been highlighted by the return of part of Dietrich von Bothmer's collection, which had been acquired by the Metropolitan Museum of Art where he had been a curator (Gill 2012a). The museum has declined to give details of what has been returned, but further fragments have been linked to objects now in Italy (Tsirogiannis and Gill 2014). It is not clear how Bothmer acquired the fragments or why they were linked to objects that had already been returned to Italy.…”

Section: The Acquirersmentioning

confidence: 99%

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Key Concepts in Public Archaeology

2017

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This publication was made possible by funding from Jisc as part of the 'Institution as e-textbook publisher' project: https://www.jisc.ac.uk/rd/projects/institution-as-e-textbook-publisher.This book is dedicated to Tim Schadla-Hall who has led the teaching and study of public archaeology at UCL for two decades, and inspired and supported a generation of public archaeologists. vii AcknowledgementsThis book has been a long time in the making, and I must first express my thanks to everybody involved for their formidable patience. The collection of papers originates in the MA Public Archaeology at UCL, devised and taught over many years by Tim Schadla-Hall and others. Most of the contributors to this volume have taught on the MA course and several are graduates, while others carried out doctoral research within what is becoming known as the 'London school' of public archaeology. This is the appropriate place to acknowledge the leadership and vision of the late Peter Ucko, whose understanding of archaeology as a politically engaged practice entangled in everyday life gave rise to the teaching programme in public archaeology at UCL Institute of Archaeology at both undergraduate and graduate level, as well as the creation of the journal Public Archaeology, still hosted in that department. The Ucko tradition of public archaeology as both scholarship and practice has been maintained over the last two decades by Tim SchadlaHall, Neal Ascherson, Nick Merriman, Ulrike Sommer, Andrew Reid and many others in the Institute of Archaeology, and continues to this day. The publication of this volume has been guided with great patience and vision by Lara Speicher of UCL Press and her colleagues and I am grateful for their faith in the project. Public archaeology is founded upon the belief in breaking down divisions between professionals or academics and the wider world: UCL Press' commitment to Open Access publishing is a beacon in this broader campaign to share knowledge freely beyond the pay-walls and prohibitive prices of traditional elite academic publishing. Finally, my thanks to Maria Phelan and my family who have endured my moaning about this book for too long.

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Section: Resultsmentioning

confidence: 99%

Section: The Sources For the Marketmentioning

confidence: 99%

Section: The Acquirersmentioning

confidence: 99%

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Key Concepts in Public Archaeology

2017

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“…2011.604.1.7830). The fact that parts of Bothmer’s extensive collection of pot fragments was formed from insecure sources is further emphasised by the fact that a batch of 40 fragments had to be returned to Italy from the MMA when joins or associations were made with repatriated pots that had been originally acquired by other museums (Gill 2018, 290–1; 2020a, 164–9; see also Tsirogiannis and Gill 2014). Moreover, Bothmer had supplied fragments for two other pots that had already been returned to Italy from the Getty: the krater attributed to the Berlin painter, and the Onesimos cup (Williams 1991; Godart and De Caro 2007, 78–9, no.…”

Section: The Sources For the Cup Fragmentsmentioning

confidence: 99%

Piecing Together the Story of a Pair of Makron’s Fragmented Cups

Gill,

Tsirogiannis

2023

Oxford J Archaeology

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SummaryIn 2022, an Athenian red‐figured cup attributed to Makron was returned to Italy by New York’s Metropolitan Museum of Art. The cup had been acquired in fragments, through purchase and gift, from multiple sources over several years, starting with two fragments from the restorer Fritz Bürki in 1978. A second cup, also attributed to Makron, was acquired in a parallel way. The sources for the fragments from both cups point to galleries collectors and donors – Summa Galleries, Frieda Tchachos, Elizabeth Hecht, and Dietrich von Bothmer – who have been associated with other material that has been repatriated to Italy in recent years. It is suggested that some of the incised ‘signatures’ by Hieron that are found on cups attributed to Makron may have been applied since antiquity.

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“… 16. Tsirogiannis and Gill 2014; Fabio Isman, “L’ archeologia restituita dagli USA,” Il Messaggero , 21 January 2012. …”

Section: Endnotesmentioning

confidence: 99%

False Closure? Known Unknowns in Repatriated Antiquities Cases

Tsirogiannis

2016

Int J Cult Prop

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Abstract:Based on research into the confiscated photographic and document archives in the hands of the top antiquities dealers (Robin Symes-Christos Michaelides, Robert Hecht, Giacomo Medici, and Gianfranco Becchina), so far more than 250 looted and smuggled masterpieces have been repatriated from the most reputable North American museums, private collections, and galleries, mainly to the Italian and the Greek states. Most of these repatriations were advertised in the press as voluntary action by the institutions and the individuals who possessed them. However, this is far from true; the repatriations were the results of lengthy negotiations, where the presentation of evidence alternated with diplomatic tactics and legal threats in order for the two parties (in some cases, three) to reach an agreement. Among the much-celebrated repatriated antiquities are at least two cases that require further research regarding their legal owner. This article aims to analyze these two cases and to set out new questions. In the end, there is doubt that the state who finally received these antiquities is necessarily the one from which they have been looted and smuggled. Based on this analysis, the article aims to highlight alternative paths to the discovery of the truth, paths that might have been more effective, if they had been followed.

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“A Fracture in Time”: A Cup Attributed to the Euaion Painter from the Bothmer Collection

Cited by 9 publications

References 10 publications

Key Concepts in Public Archaeology

Key Concepts in Public Archaeology

Piecing Together the Story of a Pair of Makron’s Fragmented Cups

False Closure? Known Unknowns in Repatriated Antiquities Cases

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