Polaroids from the Medici Dossier: Continued Sightings on the Market

Gill, David; Tsirogiannis, Christos

doi:10.1007/978-1-137-40757-3_17

Cited by 9 publications

(10 citation statements)

References 5 publications

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“…7b, d, 9a–b, 11b, e, 13a–b). The fragments of Cup 1 that were supplied by Summa Galleries appear in three polaroids from the photographic dossier seized from Giacomo Medici in the Geneva Freeport, thus indicating the source of his stock (see also Gill and Tsirogiannis 2016) (Fig. 2).…”

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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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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“…First, customs' officers can inspect and seize suspect objects as they cross international borders. Second, the police can intervene if a stolen object is exhibited publicly or listed for public auction (Gill and Tsirogiannis 2016). In some jurisdictions, forgeries can be seized and destroyed (The Art Newspaper March 2014).…”

Section: Art Crime and The Lawmentioning

confidence: 99%

Governance under the shadow of the law: trading high value fine art

Shortland

2019

Public Choice

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The market for paintings by well-known artists is booming despite widespread concern about art crime and difficulties in establishing provenance. Public law enforcement is imperfect, and court cases often are deemed problematic. So how is the thriving art market governed in practice? We analyze the protocols used by the top auction houses to identify and resolve problems of illicit supply—fakes, forgeries and items with defective legal titles—through the lens of institutional analysis. We uncover a polycentric private governance system in which different actors govern distinct but overlapping issue areas, motivated by profit, prestige, or the search for truth. When the financial stakes rise, opportunistic behavior undermines the credibility of private governance. We argue that as litigious, super-rich investors entered the art market, the interaction between public law and the traditional private governance system restricted the supply of “blue chip” art, driving the escalation of prices.

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“…2006) has had some success, although objects without findspots continue to surface on the market (e.g. Gill & Tsirogiannis 2011). That campaign, however, may have redistributed the weight of commercial value into another area that is far less clear-cut: the sale of archaeology itself.…”

Section: Introductionmentioning

confidence: 99%

“…That campaign, however, may have redistributed the weight of commercial value into another area that is far less clear-cut: the sale of archaeology itself. Documented context, accrued through professional archaeological practices, is now not only certifying specific auction lots, but is also potentially inflating their monetary value, sometimes substantially (Gill 2011: 52–53). These are often legal, but ethically problematic, transactions.…”

Section: Introductionmentioning

confidence: 99%