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National Museum of Aleppo As a Model)
Strategies for reconstructing and restructuring of museums in post-war places (National Museum of Aleppo as a Model) A dissertation submitted at the Faculty of Philosophy and History at the University of Bern for the doctoral degree by: Mohamad Fakhro (Idlib – Syria) 20/02/2020 Prof. Dr. Mirko Novák, Institut für Archäologische Wissenschaften der Universität Bern and Dr. Lutz Martin, Stellvertretender Direktor, Vorderasiatisches Museum, Staatliche Museen zu Berlin Fakhro. Mohamad Hutmatten Str.12 D-79639 Grenzach-Wyhlen Bern, 25.11.2019 Original document saved on the web server of the University Library of Bern This work is licensed under a Creative Commons Attribution-Non-Commercial-No derivative works 2.5 Switzerland licence. To see the licence go to http://creativecommons.org/licenses/by-nc-nd/2.5/ch/ or write to Creative Commons, 171 Second Street, Suite 300, San Francisco, California 94105, USA Copyright Notice This document is licensed under the Creative Commons Attribution-Non-Commercial-No derivative works 2.5 Switzerland. http://creativecommons.org/licenses/by-nc-nd/2.5/ch/ You are free: to copy, distribute, display, and perform the work Under the following conditions: Attribution. You must give the original author credit. Non-Commercial. You may not use this work for commercial purposes. No derivative works. You may not alter, transform, or build upon this work.. For any reuse or distribution, you must take clear to others the license terms of this work. Any of these conditions can be waived if you get permission from the copyright holder. Nothing in this license impairs or restricts the author’s moral rights according to Swiss law. -
Defining Phoenician Religious Space: Oumm El-'Amed
ANES 37 (2000) 27-55 Defining Phoenician Religious Space: Oumm el-‘Amed Reconsidered Nicholas C. VELLA Department of Classics and Archaeology University of Malta Msida MSD 06 MALTA Fax: 356 330 431 E-mail: [email protected] Abstract Phoenician religious sites have often been cited in discussions about religious beliefs and practices. However, no attempts have been made to reveal systemati- cally the bases and criteria on which scholars have defended the sacred nature of these sites, so that Phoenician temples remain as elusive as ever. This paper looks in detail at one site in Lebanon, Qumm el-‘Amed, where it is claimed that two large temple complexes existed in the Hellenistic period. An attempt is made to understand why major monuments at the site are religious in nature, following a few principles that are set out clearly.*. When Mortimer Wheeler assessed the Hellenic contribution to Roman art and architecture in his standard introduction to the subject published in 1964 he had no qualms in asserting that on the Acropolis of Athens in the * This study is based on the author’s Ph.D. thesis, supervised by Professor Richard Har- rison of the University of Bristol. The author is grateful to the University of Bristol for award- ing him a Post-Graduate Scholarship, and to the Committee of Vice-Chancellors and Princi- pals of the Universities of the United Kingdom for having given him the Overseas Research Scholarship Award. A small grant from the Department of Classics & Archaeology, Univer- sity of Malta, facilitated access to Dunand and Duru’s (1962) report on Oumm el-‘Amed. -
Virtually Gone! the Internet Market in Antiquities
Virtually Gone! The Internet Market in Antiquities NEIL BRODIE Endangered Archaeology in the Middle East & North Africa School of Archaeology University of Oxford INTRODUCTION Since the establishment of eBay in 1995, online sales of antiquities and other cultural objects have escalated progressively, both in monetary value and material volume BARKER 2000; BRUHNS 2000; CHIPPINDALE AND GILL 2001; FAY 2011; LIDDINGTON 2002 . The means by which sales can be conducted online have similarly diversified and multiplied. By 2016, the Internet market had grown to comprise a baffling disorder of websites and web portals offering for sale cultural objects from every country in the world BRODIE 2014; 2015 . Most objects were being sold without any reliable documentation of provenance OWNERSHIP HISTORY or verifiable evidence of find spot, and had likely been obtained through illegal and undocumented excavation or stolen from museum or other institutional collections, before being traded in contravention of national and international laws. The Internet offers easy market access for a much larger number of customers than was previously the case, and cultural objects sold on the Internet are generally of poorer quality than those that have been traditionally traded. With more people buying more material, the expanding Internet market is believed to have caused an upsurge in the extent and intensity of looting of cultural sites and trafficking of cultural objects. 20 STRUCTURE AND ORGANISATION OF THE Overall, the Internet has caused a shift in INTERNET MARKET the nature of the antiquities market, from a low-volume, high-value trading model towards more of a high-volume, low-value one. -
Warming to the Classics
38 — Antiques and The Arts Weekly — November 13, 2015 A Mayan royal male pottery figure, center, from the Jaina Island region, late Classic “Les Chaumieres (Breton Landscape) (Field Period, circa 600–900. AANW, Inc, New 27)” by Paul Gauguin, 1894, watercolor York City monotype. Schillay Fine Art, New York City Warming To The Classics The International Show Returns To New York NEW YORK CITY — With British table and putting a Mod- much of the art world consumed ern picture over it. We’ve with the trendy and evanescent, responded, adding more Modern In a nod to the kunstkammern of the baroque era, Brian the classics, paradoxically, seem and contemporary material. It Haughton featured a wall of contemporary porcelain by more timely than ever. The trick gives the show a freer, less Swedish artist Gunilla Maria Akesson, who created her is to make the old look new or, restrictive feel.” “Translucent” series expressly for the 2015 International more precisely, to show histori- Never truly encyclopedic, the Show. cal works of art in a Zeitgeist- fair is more than ever a collec- friendly way. Anna Haughton, tion of arresting vignettes co-director of the International orchestrated by auteur special- Show, puts it more elegantly: ists. Where Haughton and her “Everything has to be fresh- husband, Brian, now joined in ened. The challenge is to make business by their adult children, the International Show look Giles and Emma Jane, have subtly different.” excelled is in creating a polished Chicly rebranded the Interna- showcase but not dictating its tional Show: Art, Antiques, contents. Flexibility has allowed Design, this 27-year-old favorite the International Show to returned to the Park Avenue evolve with changing tastes Armory October 23–29 looking while maintaining its clear and all the better for its age. -
Protecting Cultural Heritage by Strictly Scrutinizing Museum Acquisitions
Fordham Intellectual Property, Media and Entertainment Law Journal Volume 24 Volume XXIV Number 3 Volume XXIV Book 3 Article 4 2014 Protecting Cultural Heritage by Strictly Scrutinizing Museum Acquisitions Leila Alexandra Amineddoleh Fordham University School of Law; St. John's University - School of Law, [email protected] Follow this and additional works at: https://ir.lawnet.fordham.edu/iplj Part of the Intellectual Property Law Commons Recommended Citation Leila Alexandra Amineddoleh, Protecting Cultural Heritage by Strictly Scrutinizing Museum Acquisitions, 24 Fordham Intell. Prop. Media & Ent. L.J. 729 (2015). Available at: https://ir.lawnet.fordham.edu/iplj/vol24/iss3/4 This Article is brought to you for free and open access by FLASH: The Fordham Law Archive of Scholarship and History. It has been accepted for inclusion in Fordham Intellectual Property, Media and Entertainment Law Journal by an authorized editor of FLASH: The Fordham Law Archive of Scholarship and History. For more information, please contact [email protected]. Protecting Cultural Heritage by Strictly Scrutinizing Museum Acquisitions Cover Page Footnote Leila Amineddoleh is an art and cultural heritage attorney, the Executive Director of the Lawyers’ Committee for Cultural Heritage Preservation, and an adjunct professor at Fordham University School of Law. She would like to acknowledge Filippa Anzalone, Jane Pakenham, Kelvin Collado, and Amanda Rottermund for their valuable insights and assistance. This article is available in Fordham Intellectual Property, Media and Entertainment Law Journal: https://ir.lawnet.fordham.edu/iplj/vol24/iss3/4 Protecting Cultural Heritage by Strictly Scrutinizing Museum Acquisitions Leila Amineddoleh* INTRODUCTION .............................................................................. 731 I. BACKGROUND ............................................................... 735 A. Cultural Heritage Looting ..................................... -
Returning Archaeological Objects to Italy David W
International Journal of Cultural Property (2018) 25:283–321. Printed in the USA. Copyright © 2018 International Cultural Property Society doi:10.1017/S094073911800019X Returning Archaeological Objects to Italy David W. J. Gill* Abstract: It has been more than 20 years since the raids on the premises at the Geneva Freeport were linked to Giacomo Medici. The seizure of photographic records led to a major investigation of acquisitions by museums and private collectors. This was expanded following the confiscation of archives from Robin Symes and Gianfranco Becchina. Over 350 items have been returned to Italy from North American public and private collections as well as auction houses and galleries. This article reviews the returns and identifies some of the major themes. It also notes some of the unresolved cases both in North America and in Europe and Japan. Keywords: Repatriation, photographic archives, forensic archaeology, art market, auction houses, antiquities market The last two decades have seen a major shift in attitudes toward “looted” antiquities. Up to this point, concerns had been raised, but there was rarely substantial and compelling proof that would persuade a museum to hand over its valuable and valued acquisitions. In 1997, Peter Watson exposed the scandal surrounding the selling of recently surfaced antiquities through Sotheby’s in London based on the release of documentary evidence held by an employee of the auction house. This led to a decision by the auction house to stop selling “ancient art” through its London premises.1 -
Gesture and Identity in the Funerary Art of Palmyra Author(S): MAURA K
Gesture and Identity in the Funerary Art of Palmyra Author(s): MAURA K. HEYN Source: American Journal of Archaeology, Vol. 114, No. 4 (October 2010), pp. 631-661 Published by: Archaeological Institute of America Stable URL: http://www.jstor.org/stable/25763805 . Accessed: 28/10/2014 11:45 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Archaeological Institute of America is collaborating with JSTOR to digitize, preserve and extend access to American Journal of Archaeology. http://www.jstor.org This content downloaded from 128.148.231.12 on Tue, 28 Oct 2014 11:45:56 AM All use subject to JSTOR Terms and Conditions Gesture and Identity in the Funerary Art of Palmyra MAURA K. HEYN Abstract rence of certain to gestures (e.g., the hand raised the The art from a in the eastern or funerary Palmyra, city face the extension of the index and pinkie fingers) Roman offers us a into the creation of a empire, glimpse reveals correlation between these gestures and other social in the aftermath of Roman The identity conquest. characteristics such as familial are on gender, relationships, Palmyrene portraits modeled the Roman funerary and It is that gesture was used to relief but with interesting local variations. -
Returning Objects to Italy Abstract It Is More Than 20 Years Since the Raids
Returning objects to Italy Abstract It is more than 20 years since the raids on the premises at the Geneva Freeport linked to Giacomo Medici. The seizure of photographic records led to a major investigation of acquisitions by museums and private collectors. This was expanded following the seizure of archives from Robin Symes and Gianfranco Becchina. Over 350 items have been returned to Italy from North American public and private collections, as well as auction houses and galleries. This paper reviews the returns and identifies some of the major themes. It also notes some of the unresolved cases both in North America but also Europe and Japan. 1 The last two decades have seen a major shift in attitudes towards ‘looted’ antiquities. Up to this point concerns had been raised, but there was rarely substantial and compelling proof that would persuade a museum to hand over its costly acquisitions. In 1997 Peter Watson exposed the scandal surrounding the selling of recently-surfaced antiquities through Sotheby’s in London based on the release of documentary evidence released by an employee of the auction house, and this led to a decision by the auction house to stop selling ‘ancient art’ through its London premises.1 In 1995 raids on the Geneva Freeport premises linked to Giacomo Medici brought about the confiscation of large numbers of antiquities as well as a photographic archive of material handled by this individual.2 This seizure led directly to the return of material from North American collections.3 This study primarily provides an overview of the objects that have been returned to Italy from North American public museums, private collectors, and dealers. -
The Art of Greece, Rome and the Ancient Near East, the Library of Dr
THE ART OF GREECE, ROME AND THE ANCIENT NEAR EAST The Library of Dr. Jerome M. Eisenberg, Founder-Director of Royal-Athena Galleries, New York-London 3,324 titles in circa 3,520 volumes The Library of Jerome M. Eisenberg, Ph.D. The Dr. Jerome M. Eisenberg library consists of some 3,500 physical volumes dealing with the arts of Ancient Greece, Rome and the Near East. It covers all aspects of Greek, Roman, Etruscan, Hellenistic art and archaeology with great strength in works on sculpture and vase painting as well as the minor arts including an important group of works on seals and cameos. The library includes a comprehensive collection of scholarly catalogues of museum holdings from Europe and America. The library also includes some basic works on late antique, early Christian, Byzantine and early medieval art. Finally, the Eisenberg library contains an exceptional grouping of books on fakes and the forgery of ancient works of art, on cultural property, as well as the legal aspects of the trade in works of art and antiquities. Jerome M. Eisenberg, Ph.D. is the founder-director of Royal-Athena Galleries, New York-London, the internationally renowned gallery specializing in ancient art for over 60 years. Since 1968 Dr. Eisenberg has concentrated on expertise in the ancient arts and has lectured on this subject at New York University and as a visiting professor at the Institute of Classical Archaeology of the University of Leipzig, and presented several scholarly papers at the annual meetings of the Archaeological Institute of America, most recently on the ‘Roman’ Rubens Vase. -
Abstracts of Papers / Resúmenes De Comunicaciones
CONTENTS / ÍNDICE Abstracts of papers / Resúmenes de comunicaciones ................................................................................... 2 Abstracts of papers submitted in workshops / Resúmenes de las comunicaciones presentadas en los talleres ................................ 77 Abstracts of posters / Resúmenes de los paneles ......................................................................................... 97 1 ABSTRACTS OF PAPERS RESÚMENES DE COMUNICACIONES Marta ABBADO (University of Tübingen) and Edi l be rto FO RMIGLI (Antea - Laboratorio di Archeometria e Archeologia Sperimentale) The gold of Qatna: Preliminary investigations Oren ACKERMANN (Kinnert College in the Jordan Valley), Aren M. MAEIR (Bar-llan University) and Hendrik J. BRUINS (Ben-Gurion University) Tell es Safi/Gath: A Project of Environmental Reconstruction This environmental research project is part of an ongoing, long-term archeological project that has been conducted at Tell es-Safi/Gath since 1996. Located in central Israel, Tell es-Safi/Gath is considered one of the country’s largest pre- Hellenstic archeological sites, and identified as the biblical “ Gath of the Philistines.” The project is directed by Prof. Aren Maeir from the Institute of Archaeology at Bar-Ilan University. The aims of this research were to reconstruct the ancient environment and to investigate the impact of human activities on the evolution of the landscape in the area surrounding Tell es-Safi/Gath over the past 3000 years. Three landscape structures that have preserved -
Bogdanos-Bulls-Head
SUPREME COURT OF THE STATE OF NEW YORK COUNTY OF NEW YORK, PART 65 IN THE MATTER OF AN APPLICATION FOR A WARRANT TO SEARCH THE PREMISES LOCATED AT THE METROPOLITAN MUSEUM OF ART, 1000 5TH AVENUE, NEW YORK, NEW YORK 10028 (“THE TARGET PREMISES”) DIGITAL INDEX OF EXHIBITS 1) Warrant to Search the Premises Located at the Metropolitan Museum of Art (July 6, 2017) 005 2) Letter from Ghattas Khoury, Minister of Culture of the Lebanese Republic (July 18, 2017) 007 3) Letter from Assistant District Attorney Bogdanos (July 19, 2017) 008 4) Inventory of Property Taken Under and Pursuant to Search Warrant (July 24, 2017) 009 5) Temple of Eshmun Excavation Inventory Catalogue Card No. E 912/8-12 (July 8, 1967) 014 6) Current Photographs of the Subject Bull’s Head (C-17) 016 7) Photos and Description of Four Bull’s Heads Labeled C-14 to C-17 020 8) Affidavit of Professor Rolf Stucky (Sept. 15, 2017) 030 9) Letter from Ibrahim Kawkabani, Head of Excavation Department by Proxy (Dec. 5, 1979) 032 10) Letter from Ibrahim Kawkabani, Head of Excavation Department by Proxy (Dec. 12, 1979) 034 11) Letter from Maurice Dunand #17 (Dec. 11, 1979) 036 12) Letter from Maurice Chehab, Director General of Antiquities (Dec. 12, 1979) 039 13) Rolph A. Stucky, Le Sanctuaire d’Echmoun à Sidon, National Museum News, Seventh Issue, 041 Spring 1998 14) Letter from Saleem Abi Al-Lame’e, Chief of Staff, Ministry of Tourism (Aug. 4, 1981) 052 15) Letter from Maurice Dunand #59 (Aug. 13, 1981) 056 16) Journal Entry from Maurice Dunand (Aug. -
Adornment, Identity, and Authenticity: Ancient Jewelry in and out of Context
AJA ONLINE PUBLICATIONS: MUSEUM REVIEW Adornment, Identity, and Authenticity: Ancient Jewelry In and Out of Context By Megan Cifarelli* MASTERPIECES OF ANCIENT JEWELRY: EXQUISITE role of jewelry in the construction of gendered, OBJECTS FROM THE CRADLE OF CIVILIZATION, religious, social, and cultural identity. THE FIELD MUSEUM OF NATURAL HISTORY, Very little of the ancient jewelry in museum CHICAGO, 13 FEBRUARY–5 JULY 2009, curated collections came to light through controlled ex- by Judith Price. cavations because of the manner in which most 19th- and early 20th-century collections were formed. While most of these objects entered While ancient jewelry is a feast for the eyes, collections legally, and may in fact be genuine, it presents significant challenges to scholarly without archaeological documentation it is interpretation. Personal adornment has long simply not possible to confirm their authentic- been marginalized in the study of ancient ity beyond a doubt. This lack of contextual culture, perhaps because it resists the types of information and assurance of authenticity does inquiry that illuminate monumental architec- not eliminate, but does curtail, the interpretive ture and works of art. Its “context of original potential of these pieces.2 Regardless of one’s intention”—usually on the body of the living position on the scholarly value of unexcavated person for whom it was made—eludes archae- pieces, their presence in museum collections is ologists.1 A portable form of wealth, jewelry is a reality and a challenge that curators ought to easily transferred among families, passed down confront with the utmost honesty and integrity, for generations, squirreled away in hoards, and practicing full disclosure about both excavated moved across long distances.