S T O F Y R E D L I E R G E N C E M IQUITIES IRAQI ANT AT RISK N C Y E M E R G E E D L I S T R ISK TIES AT R ANTIQUI OF IRAQI

Suspicious characteristics Any object with reference numbers written on it and any object that shows traces of reference numbers in ink. The inventory numbers of the Iraq Museum generally follow the mention “IM” (abbreviation for 0 “Iraq Museum”). [illus. 0]

Any object with cuneiform (“wedge-shaped”) writing on it. This writing is composed of horizontal, vertical or oblique strokes with triangular ends, impressed or incised into the material. Cuneiform looks like a lot of small triangular depressions arranged in patterns. Early examples look like picture writing. It is found especially on objects of 1 clay and stone, but also metal, ivory, and pottery. [illus. 1]

Any object with Aramaic writing on it (alphabetic writing, mostly engraved or in ink). [illus. 2]

0. ©Iraq Museum/Salvini 1. ©Iraq Museum 2. ©Musée du Louvre 2

This Red List was drawn up by a group of 12 international experts during a meeting held at the Interpol headquarters in Lyons (France) on 7 May 2003. © 2008, ICOM, all rights reserved. Introduction Purpose Cultural heritage in Iraq has suffered This document has been designed as a tool seriously as a result of war. Many objects for customs officials, police officers, museums, have been looted and stolen from museums art dealers and collectors to help them to and archaeological sites and risk appearing recognize objects that could originate from on the market through illicit trafficking. Iraq.

Although the Iraq Museum in Baghdad This Red List describes the general types is not the only place that has suffered, it is of artefacts most favoured by the illegal certainly by far the most important antiquities market, so that these may be institution. The museum has been looted identified and detained wherever they and is missing a great part of its former surface. They are protected by legislation, collection. The Iraq Museum is a national banned from export and may under no archaeological museum that serves as the circumstances be imported or put on sale. repository for all artefacts from excavations An appeal is therefore being made to in Iraq. It contains hundreds of thousands museums, auction houses, art dealers and of objects covering 10,000 years of human collectors not to acquire them. civilization, representing many different cultures and styles. The bulk of the This is a list of the types of objects from collection dates between 8000 B.C. and Iraq which are particularly at risk and are 1800 A.D., and comprises objects made of likely to have been stolen. It is in no way clay, stone, pottery, metal, bone, ivory, exhaustive. Because of the tremendous variety cloth, paper, glass, and wood. of objects, styles, and periods, any antiquity from Iraq should be treated with suspicion.

Iraqi cultural heritage is protected under : - Law Prohibiting the Smuggling of Antiquities No. 40 of 1926 - Antiquities Law No. 59 of 1936 and the two Amendments (No. 120 of 1974 and No. 164 of 1975) - Law No. 6 of 1942: Regulations regarding the Registration of Old Manuscripts - Antiquities and Heritage Law No. 55 of 2002 On 21.03.1968, Iraq ratified the 1954 Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict , and its First Protocol. On 12.05.1973, Iraq ratified the 1970 UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property. EMERGENCY RED LIST OF IR

THE RED LIST INCLUDES THE FOLLOWING CATEGORIES OF OBJECTS : (These images serve to illustrate the categories of objects which are the target of illicit traffic.)

Tablets of clay or stone with cuneiform writing. Most common are pillow-shaped clay tablets (one side rounded, the other side flat), square or rectangular, sometimes round. They typically range from 4 x 5 cm to 20 x 30 cm in size. They sometimes have a casing (often fragmentary) sealed. They are usually sun-dried and must be handled with extreme care. If not 3 4 stored under controlled humidity, they may disintegrate (optimum relative humidity: 45-50%). For identification, they 3. Clay proto-cuneiform tablet with early pictographic writing, end of the 4 th millennium B.C. ©British Museum should be photographed under raking light coming from the 4. Clay cuneiform tablet, still partly in its envelope, upper left. [illus. 3, 4] beginning of the 2 nd millennium B.C. ©Musée du Louvre

Cones and any other objects (bricks, prisms, vases, sculpture, etc.) with cuneiform writing. Most common are clay cones roughly 15 cm long with a flattened head (disk-shaped). [illus. 5]

5 6 Cylinder seals of stone, shell, frit, etc. 5. Baked clay foundation cone with cuneiform writing, end of the 3 rd millennium B.C. ©Musée du Louvre These look like large cylindrical beads with pictures engraved on 6. Stone cylinder seal, beginning of the 2 nd millennium B.C., them, and often a cuneiform inscription. They range in length Musée du Louvre. ©RMN/Franck Raux from 2 to 7 cm, and in diameter from 1 to 3 cm. [illus. 6]

Stamp seals of stone, shell, etc., and their impressions. Stamp seals are small lumps of stone, often animal or gem- 7 7bis shaped (about 3 or 4 cm), with pictures carved on one side 7. Stone stamp seals, Jamdat Naser period, about 3000 B.C., (about 1.5 to 3 cm). Impressions are lumps of clay with small Iraq Museum. ©photo Scala, Florence pictures from cylinder seals or stamp seals impressed in them. 7bis. Stone stamp seals in the shape of animals [illus. 7, 7bis] and their impression, about 3000 B.C. ©Musée du Louvre RAQI ANTIQUITIES AT RISK

Ivory, bone plaques and sculptures. 8. Ivory plaque from Nimrud, 9th -8 th centuries B.C. (stolen). Any object made of ivory that looks old. Most common are ©Iraq Museum small flat plaques (8 to 20 cm) carved with figures or ornament, originally used as furniture inlays. Many look Egyptian. [illus. 8] 8

Sculpture, 3-dimensional and relief. 9 A. Stone, dark or white. The most common types of figures are : • Standing figurines in white stone (or marble), about 10 to 15 cm high. [illus. 9] • Under-life-size standing or seated figures with folded hands, ranging from about 15 to 60 cm high (sometimes life size). [illus. 10, 10bis] • Figures in provincial or oriental Roman style from Hatra, especially heads. [illus. 11]

B. Clay. Small figures, usually unbaked. The most common types are: 10 • Human and animal figurines, often crudely made (about 8 to 15 cm high). [illus. 12] • Models and "toys" of beds, boats, chariots, houses, etc. (about 10 to 20 cm high, sometimes more for the houses). [illus. 13] • Mould-made plaques, often naturalistic, representing scenes from daily life and scenes of worship (about 8 to 15 cm high). [illus. 14] 11 10bis C. Bronze figurines (often oxidized). One common type has the lower body in the shape of a peg (about 12 to 20 cm high). 9. Stone figurines from Tell es-Sawwan, beginning [illus. 15] of the 6 th millennium B.C. ©Iraq Museum 10. Stone Sumerian statue, about 2400 B.C. ©Iraq Museum 10bis. Sumerian alabaster statue from Ur, about 2400 B.C., Iraq Museum. ©photo Scala, Florence 11. Stone statue from Hatra, 2 nd century A.D., Iraq Museum. ©photo Scala, Florence

12 13

12. Terra cotta Sumerian figure from Tello, about 2000 B.C., Iraq Museum. ©photo Scala, Florence 13. Clay chariot model, beginning of the 2 nd millennium B.C., Musée du Louvre. ©RMN/Lewandowski/Raux 14. Terra cotta relief: cult scene from Khafaji, about 1800 B.C., Iraq Museum. ©photo Scala, Florence 15. Bronze foundation figurine, end of the 3 rd millennium B.C., Iraq Museum. ©photo Scala, Florence 14 15 EMERGENCY RED LIST OF IR

D. Stone plaques and slabs, often in fragments, carved in relief. [illus. 16, 17]

16. Stone Assyrian relief fragment from Nineveh, about 700 B.C. (stolen). ©J. Russell 17. Panel carved in relief: Assyrian warriors from Khorsabad, end of the 8 th century B.C., Iraq Museum. ©photo Scala, Florence 16

Vessels/Containers, large or small. 17 A. Pottery/Ceramics, often broken or incomplete. There is a tremendous variety of decoration: plain, painted, inscribed, decorated and/or glazed. [illus. 18, 19]

B. Glass. Old glass often has a shiny metallic iridescent sheen. It is often decorated with wavy patterns. [illus. 20, 20bis]

18 19

18. Pottery jar decorated “scarlet ware” from Khafaji, beginning of the 3 rd millennium B.C., Iraq Museum. ©photo Scala, Florence 19. Islamic monochrome lustre ware cup, 10 th century A.D. ©Musée du Louvre 20. Glass bottles from Nimrud, 3 rd -7 th centuries A.D. ©British Museum 20 20bis 20bis. Cup, 13 th century A.D. ©Iraq Museum C. Metal (bronze, silver, gold), plain or decorated. [illus. 21]

D. Stone, sometimes carved in relief or inlaid. One type is made of marble or alabaster and is quite small (miniature vases). [illus. 22]

21

21. Gold bowl, Royal Cemetery of Ur, about 2500 B.C. ©University of Pennsylvania Museum of Archaeology and Anthropology Jewellery, carved gems and personal adornments: 22. Small alabaster vessels, Tell es-Sawwan, 6 th millennium B.C. gold, silver, bronze, shell, stone, etc. ©Iraq Museum Inlays and multicoloured stones are commonly used (predomi - 22 nantly lapis lazuli, carnelian, agate, rock crystal and turquoise). [illus. 23]

23. Jewellery board, Royal Cemetery of Ur, about 2500 B.C. 23 ©Iraq Museum RAQI ANTIQUITIES AT RISK

Manuscripts, calligraphy, books and archival documents. [illus. 24]

24

Architectural and furniture fragments: 24 . Islamic manuscript page in Arabic. plaster, wall painting, tiles, ©Iraq Museum Library/Tabbaa decorated bricks, wood . Islamic examples are often decorated with intricate patterns 25. Islamic carved brick architectural decoration. that may include Arabic script. [illus. 25, 26] ©Iraq Museum/Tabbaa 26. Islamic wooden panel. ©Iraq Museum

25 26 27. Islamic coins. ©Iraq Museum

Coins. Antique coins are hand stamped, so the subject is often off-centre. Pre-Islamic coins usually include pictures. Islamic examples are decorated only with Arabic script, which often identifies the place of production. [illus. 27] 27 E T m e l a e T i c o C R a o i L t c T n a W E I n l r o T o o i r f l n p n a a h h c r i a e l

t

g s i m r e t t h d : o h d e e e d q t g s e a i i k

a h n o

n r i o

i i o a s m

n s f

n f s t

n I c o

n c u h l h i e h c e

i n o A a l g o a m i z R i y t e a a c i e d t v e t h t m m a u 1 p l t

e : i v

r s r e

t i e e t o t o

l r n i c , e y r

i r

e i m i i t d e + d

n n n n n b o

e n B

a a t r r , a

2 a a a

t n g o e i i e g g

u

L 3 t u c t w n t t l t 4 s f r

o

e e a 1 m e h

a a r i

3 i i d . o (

o . o n i a , a

9 e e s

n , t n N

t 0

e

r r M

n h t

a h T t S g 4 ( g k s I n

0 c G @ a a e 0 o c u r e w i t a

o i 6 t o a b 0 l r

o

o o O

) s n c

t i c m d q o , w h l a 1 f i

n l . l

i C e

i ) c l l o

m f a , a z U s t m

m i i

s T o

I

p

o o n c

t s t a l 4 a m A E C u r d

e h p e M i u

i a . m u s t l n C l t 7 S f l O - m , d i d e e : e e a n r

t s g o

/ d o . a k

v . a t ’ u d r i e M I 7 c

h / n b E s 3 n r m

u i D v e C t u e i i

c i a s a

5

m e l t i a n t n 4

c t o O l a m

o v f n n a u , e r o o 7 t o i c t f f

o t e s e n i M s i a i p i a s

p a 0 i i m n o s 3 c

r m f

l p p t

o n e a

i t g n . n i e

u 5 d a 2 n a s

r n r n . r g u M o e h u d d , o m r e e

t

n t

g

i f n a m a a s

a 1 0 f m b

v c P n

u

e t w e l c l s u l c t a o e l 4

0

h o s f a ’

s e

u y u e a u s o n U n n a e - i t 7 s u p r

. e n m s n r

l - t R d t n i

- i u t u s t N

u m o f W s

h i t

d u

c d e m n

o s

b F

n c m P w

E o t

o

r d a C

r u t l e a u C a o a a s e - i f u c S h l

i / a s e l b

x p n l

L t l r s u r n u t S

h e e C t h u d : r ( d i r s u

e i g l

s t t I e

n l e o o e .

O t e i

d r t g + C a r o t l t u m d s x f n i u x a t

a t e o e l e i O o u p r h

i t 3 e r l t n u d s a : R a f

1 s e r i M e a

,

o 3 t o s e s l e n n r e I h

5 l

e n

t

b r r

)

I d d o h

i U A t a t

C u ( o s s j i

h n t - 0 e q e n i

m u

c O n L p f

s e - r c o

i w ) f F o i

s i g i

: M a

1 a s

t t n t A

r m / t p p o i a

s t e s i / a h t

e w n

s r i u v r

r g h 4 d m i n e c o o b s t e s e p i

o

f 3 i

f o c d t

e o u r q , U e f e p p N a

e m n

e

i r n u s c 0 n r n N p o I

m a s i i i C t v A . g r

r c 6 t n i i E t m a e i i o o O t e

f a i c n e

S r

r o s s n n n t 7 i M o i s i u t e o p n i C c e a

e t

o f 8 s n a l a o t a a s ’ l O r : n d y s s e

- t t , f ’ l l 6 u 2 m

9/08 - TAM TAM TEAM