Worcester Art Museum Returns Hecht-linked Pots to Italy

Photo: Worcester Art Museum

The Worcester Art Museum has returned two Attic pots to Italy; they are now back on loan to the museum ("Worcester Art Museum Secures Landmark Cultural Cooperation Agreement with Italian Ministry of Culture Following Voluntary Return of Antiquities", January 30, 2025). What is striking about the two pieces is that they were both acquired in the mid-1950s, well before the 1970 UNESCO Convention.

The two pieces are:

a. An Attic black-figured amphora attributed to the Rycroft painter, showing Hermes, Leto, Apollo and Artemis; Dionysos and Maenads. Inv. 1956.83 (BAPD 301829). [Website]

b. An Attic black-figured cup decorated with a gigantomachy. Inv. 1956.91 [Website]

Both the amphora and the cup were acquired from Elie Borowski, though both could be traced back to Robert Hecht.

This will raise concerns for museums that had acquired pieces from both Borowski and Hecht well before the 1970 benchmark date. 

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Metropolitan Museum of Art Returns Griffin to Greece

In 1972 the Metropolitan Museum of Art acquired a bronze griffin head that was "said to have been found in Olympia" (Bothmer), specifically in the river bed of the Kladeos near to the Gymnasium (inv. 1971.118.54). The find was recorded in Deltion for 1915. 

In 2019 Elizabeth Marlowe reminded us of the history of the head:

A bronze griffin head displayed at the museum just beyond the ticket counter was found in a riverbed at Olympia in Greece in 1914, only to disappear from the archaeological museum there years later. It resurfaced on the art market in 1948, when it was bought by a Met trustee who eventually donated it to the museum.

The museum responded:

The Bronze Head of a Griffin was a gift in 1972 from Walter Baker and has never been the subject of a dispute.

Yet now the Met has decided to return the griffin head to Greece and present the full collecting history:

Chance find by Th. Karachalios, supervisor of the Olympia Museum, in the bed of the Kladeos river at Olympia, near the gymnasium, in December 1914; in 1937/38 published as no longer to be found at the Olympia Museum; [by 1936, with Theodore Zoumpoulakis, Athens and Paris]; [Summer 1936, purchased by Joseph Brummer from Th. Zoumpoulakis]; [1936-1948, with Joseph Brummer, New York (P13197)]; January 15, 1948, purchased by Walter C. Baker from J. Brummer; 1948-1971, collection of Walter C. Baker, New York; acquired in 1972, bequest of Walter C. Baker.

Zoumpoulakis is known to have handled several objects that ended up in major European and North American collections, some perhaps of modern creation. The Met adds to the decision to return the head:

The Met and the Greek Ministry agreed to the return of the Griffin after careful review of records and letters determining that it could not have legitimately left the Archaeological Museum of Olympia.

What other suspicious pieces lurk among the collection housed in the Met? 

This return coincides with the "Cultural Property Now" event held at the Met. It is linked to the controversial display of the "Cycladicising" collection formed by Leonard N. Stern that contains material linked to the notorious Keros Haul, as well as items identified from the Becchina archive. 

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Cleveland Museum of Art returns statue linked to Bubon

Source:
Cleveland Museum of Art

The Cleveland Museum of Art has agreed that the bronze figure acquired in 1986 will be returned to Türkiye. Scientific tests on soil samples appear to confirm that the figure was in fact found at Bubon and thus formed part of a series of imperial statues. For many years the headless statue was presented as a representation of the emperor Marcus Aurelius.

The Manhattan DA presented this account of the looting:

In the 1960s, individuals from a village near Bubon began plundering a Sebasteion, an ancient shrine with monumental bronze statues of Roman emperors and selling those looted antiquities to smugglers based in the coastal Turkish city of Izmir. Working with Switzerland-based trafficker George Zakos and New York-and-Paris-based trafficker Robert Hecht, they unlawfully removed the looted antiquities from Türkiye, transporting them to Switzerland or the United Kingdom, and then onward to the United States or other European destinations. Once the statues were in the United States, New York-based dealers such as Jerome Eisenberg’s Royal-Athena Galleries and the Merrin Gallery funneled the stolen Bubon bronzes into museum exhibitions and academic publications thereby laundering the pieces with newly crafted provenance. As the Bubon pieces graced the pages of exhibition catalogues and academic publications, the reputational value of the institutions who displayed the Bubon pieces increased and the financial value of the statues grew.

George Zakos was linked to the Lydian silver treasure that was returned to Türkiye by New York's Metropolitan Museum of Art. Zakos also handled the Sion Treasure that was acquired by Dumbarton Oaks, and three terracotta antefixes in the Metropolitan Museum of Art that appear to come from the Panionion on Mykale in Türkiye (1992.36.1; 1992.36.2; 1992.36.3).

The research of Dr Elizabeth Marlowe on the Bubon material is acknowledged by the Manhattan DA. 

Press release:

Cleveland Museum of Art: Cleveland Museum of Art and District Attorney of New York Reach Agreement on Draped Male Figure (the Philosopher) (February 14, 2025).

Manhattan DA: Manhattan DA’s Office Announces Repatriation of Marcus Aurelius Statue to the People of Türkiye (February 14, 2025)

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Francavilla Marittima and the links to Switzerland

Fragment of plate
formerly in the Michael C. Carlos Museum

In 1979 the J. Paul Getty Museum acquired ‘a large collection of fragments of Corinthian pottery (79.AE.110) and Italian imitations of Corinthian wares (79.AE.111)’. A similar batch of material was purchased by the Archäeologische Institut der Universität Bern. As a result of research by Vera Uhlman several joins between the two collections (‘primarily from alabastra and pyxides’) were established, and a ‘set of fragments of Corinthian vases and local Italic imitations of Corinthian pottery’ were exchanged (83.AE.276). In addition, a number of plastic vases had been acquired in 1978 from ‘a private collection in Switzerland’ (78.AE.271) that were ‘part of the contents of an ancient favissa said to have been discovered in Lucania’. The combined number of fragments was in the region of 3,500. 

The fragmentary pieces appear to have come from a sanctuary at Francavilla Marittima inland from the Greek colony of Sybaris. Subsequently this cache of material was returned to Italy in 2011. 

Two more fragments linked directly to Francavilla Marittima have been returned to Italy from the Michael C. Carlos Museum at Emory University (2005.026.001). The fragment of a Wild Goat style plate joined two other fragments: one found at the Timpone della Motta sanctuary, and another in the collection of the Ny Carlsberg Glyptotek in Copenhagen. The Carlos Museum fragment had formed part of the collection of Peter Sharrer and had been acquired at a sale of fragments at Sotheby’s (New York) in June 2005: the fragment is reported to have been in a private New York collection since 1976. 

Fragments formerly
in the Bothmer collection
and given to the
Michael C. Carlos Museum;
now on loan to the museum

The second set of Carlos Museum fragments consisted of a Laconian cup (2006.042.001A and B; now on loan to the museum) that had been acquired from Dietrich von Bothmer. Bothmer had acquired his fragments from Hans Jucker, professor of classical archaeology at the University of Bern, Switzerland. The Bothmer fragments joined fragments found at the Timpone della Motta sanctuary. 

It is perhaps significant that a fragment of a Laconian cup attributed to the Boreads painter formed part of Bothmer’s collection (New York MMA 2011.604.9.10): it ‘joins fragments at the Archaeological Collection, University of Zurich (Inv. 5942), formerly in the Ines and Hans Jucker-Scherrer Collection (by 1960s)’. 

Given that Bothmer clearly obtained material from Francavilla Marittima for his collection, which other pieces may also come from that source and perhaps join fragments derived from excavations there? 

James Cuno has noted that it was Sharrer who sold a collection of pottery fragments to Harvard University Art Museums. Are there any potential fragments from Francavilla Marittima residing in that location?

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Bothmer and Francavilla Marittima

Source:
Michael C. Carlos Museum

The Michael C. Carlos Museum has handed over ownership of two Laconian cup fragments that had been donated by Dietrich von Bothmer in 2006 [press release]. The fragments were acquired from Ines Jucker in 1985. The pieces fit excavated fragments from Francavilla Marittima.

Fragments of a Wild Goat plate (acquired in 2005) have already been repatriated from the Carlos. Several thousand fragments from the same site have been returned from the J. Paul Getty Museum and the Institute of Archaeology in Bern. 

In November 2024 the Carlos announced that it had returned fragments from two Attic red-figured kraters to Italy in December 2023 [press release]. What other Bothmer fragments should be returned to Italy? 

Mittica, G. 2018. Francavilla Marittima: Un patrimonio ricontestualizzato. Vibo Valentia: Adhoc Edizioni.

Gill, D. W. J. 2024. "The Michael C. Carlos Museum Returns Antiquities." Journal of Art Crime 31: 3–9.

Gill, D. W. J., and C. Tsirogiannis. 2024. "Fragmented pots and Dietrich von Bothmer." Memoirs of the American Academy in Rome 69: 535–94. [Open Access]

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Further Returns to Türkiye

Septimius Severus. Source: Ny Carlsberg Glyptotek

It has been announced that the Ny Carlsberg Glyptotek in Copenhagen will be returning the bronze head of Septimius Severus to Türkiye ("The Glyptotek returns Roman bronze portrait to Türkiye", press release, November 26, 2024). It forms part of a series of imperial bronze statues from the sebasteion at Bubon: the press release notes Bubon returns from New York's Metropolitan Museum of Art, Fordham Museum of Art, Worcester Art Museum, Boston Museum of Fine Arts, The J. Paul Getty Museum, and the Shelby White Collection. The head was acquired from Robert Hecht.

This will put increased pressure on the Cleveland Museum of Art over the claims relating to the bronze "Marcus Aurelius" that has been linked in The Bulletin of the Cleveland Museum of Art to Bubon (A. P. Kozloff, "Bubon: a re-assessment of the provenance," Bulletin of the Cleveland Museum of Art 74 [1987] 130-43).

The announcement from the Ny Carlsberg Glyptotek includes 48 architectural terracottas linked to Düver, and also acquired from Hecht. This will put pressure on other museums in Europe, North America and beyond to return the Düver terracottas that they acquired.

Details of previous returns from the Ny Carlsberg Glyptotek can be found in David W. J. Gill, "The Returns from the Ny Carlsberg Glyptotek, Copenhagen," in Artwashing the Past: Context Matters (Lanham: Rowman & Littlefield, 2024), 27–31.

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Part of the Cycladic Corpus of Figures?

(2024)

When you go to a museum to see an exhibition of ancient artifacts you expect them to be … ancient. You have been enticed into the show to see a carefully selected group of objects that are supposed to inform you about the past … and you are left wondering if they are indeed just modern interpretations.

Individuals working on the reconstruction of the Minoan Palace at Knossos on Crete are known to have worked on making elaborate forgeries. One of the most fascinating accounts of a death-bed confession is provided by Sir Leonard Woolley in his wonderfully named autobiography, As I Seem To Remember. These workmen understood what Sir Arthur Evans, the excavator, thought was ‘minoanizing’ and therefore could include details that made museum curators think that they were buying genuine objects from Crete that could then be presented in their public galleries to inform visitors about prehistoric Crete. One of these, the marble “Fitzwilliam Goddess” was acquired by the Fitzwilliam Museum, Cambridge in 1926 and inspired generations of Cambridge students to study the prehistoric cultures of the Aegean. The statue even graced the frontispiece of the first volume of the Cambridge Ancient History. 

New York’s Metropolitan Museum of Art has just opened a new long-term—25 years—exhibition of Cycladicizing marble figures and other objects derived from the collection formed by the North American collector Leonard Stern. Not a single piece comes from a recorded archaeological context, and there is no certainty that all the figures can in fact dated to the third millennium BCE. The presence of forgeries among Cycladic figures is well known, and there is growing evidence that this can be traced back to at least the 1930s — and even before the First World War. This makes due diligence doubly important, not only to root out pieces that have been removed illicitly from archaeological contexts in recent decades—one figure in the collection has been identified in the photographic archive of a well-known Swiss-based handler of recently-surfaced material—but also to ensure that the figure did not pass through routes to the market that are now recognised as suspicious. 

Source: Becchina archive
Courtesy: Christos Tsirogiannis

Figures from the Stern collection feature in the standard works on Cycladic figures such as Pat Getz-Gentle’s Personal Styles in Early Cycladic Sculpture, but this does not necessarily mean that they are ancient. Indeed, her earlier work, Sculptors of the Cyclades, included, by her own later admission, a number of figures that she considered to be of modern creation. 

This is not a problem confined to the Stern collection. Figures in the Goulandris collection displayed in the Museum of Cycladic Art in Athens equally lacks recorded and secure findspots. 

Archaeologists would seek to understand Cycladic figures that are derived from secure archaeological contexts, whether it be from graves on the island of Naxos, or in stratified deposits from Phylakopi on Melos. Can we allow these insecure pieces to enter the corpus of knowledge, thereby potentially corrupting it?

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