Hawass' Shopping List

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Zahi Hawass has a shopping list of six unique artefacts which he wants returned to Egypt,

1) the Rosetta Stone at the British Museum in London, with the help of which we were able to decipher the hieroglyphic language;



2) the bust of Nefertiti in Berlin;
3) the Dendera Zodiac ceiling bas-relief from the ceiling of the pronaos of a chapel dedicated to Osiris in the Hathor temple at Dendera in Upper Egypt, which is now in the Louvre Museum in Paris;
4) the bust of the pyramid builder Ankhaf kept in the Fine Arts Museum in Boston in the United States;
5) the statue of Hemiunu, believed to be the architect of the pyramid of Khufu which is in the Pelizaeus Museum, Hildesheim, Germany. This statue is scheduled to be loaned for the opening of the Grand Egyptian Museum in 2011.
6) a statue of Ramesses II in Turin, Italy.

Kwame Opoku on the Recent Looting in Egypt and the Repatriation Debate

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Kwame Opoku has a well-argued response (Restitution and Recent Upheavals in Egypt, March 24, 2011) to the comments of the antiquity dealers and collectors lobbyists alleging that the recent looting in Egypt shows what a bad idea restitution of scattered cultural heritage to their source countries is. Those who are against restitution will use the present situation as an excuse for rejecting the restitution of certain items.

Opoku argues that the disorder, revolt or revolution in Egypt does not change the nature of the debate on restitution nor does it provide any convincing excuse for the retentionists in the Western world. The determination of some museums and collectors not to return certain items to Egypt has never been based on the security or insecurity in Egypt. In all the previous thirty years in which Hosni
Mubarak ruled Egypt there were no reported major disturbances, but still the "cultural property retentionists" refused to return some of the Egyptian artefacts as requested by Zahi Hawass.

If we look at the other cases of restitution, for example, the Benin bronzes, we note that there is no revolution in Nigeria and yet for more than hundred years, including the period when Nigeria was a British colony, the British Museum refused to return the bronzes though the venerable museum has at times been very willing to sell these objects even to Nigeria. [...] Similarly, the British have been unwilling to return the golden Asante regalia they looted from Asante (Ghana) in 1874 even though the country which was British colony until 1957 has been peaceful without any major civil unrest [...]. Again, if we consider the Parthenon/Elgin Marbles, there is no disorder in Athens but the British Museum is not considering the return of the marbles to Athens. Clearly, those who argue against returning artefacts to Egypt are using a very convenient but unconvincing argument. They will not convince anyone who has carefully followed the debates on the issue in the last years.

Opoku then turns his attention to the person who has done more than anyone to raise awareness of these issues in the past years:

Many Western museum directors may be rejoicing at the resignation and departure of Zahi Hawass from the position of the Secretary-General of the Egyptian Supreme Council of Antiquities. Let them rejoice for the period of respite they have unexpectedly gained will be shorter than they wish. The question of restitution was there before Hawass came and will remain after his departure and after all of us are gone if attitudes in the West do not change. Whatever happens to Hawass in the post Mubarak period, one must acknowledge that the celebrated archaeologist has rendered to Egypt and to Africa immense services which many others envy. He has made the issue of restitution known to a broader public in the world. Which other archaeologist is as well-known as the famous Egyptian archaeologist? He has made archaeology a lively subject for many persons. He has restored to Egypt, Egyptology, a science dominated for too long by Westerners. Westerners can no longer go to Egypt as if they were going to an archaeological supermarket to take whatever they want. They have to seek permission which may be refused and they may be asked to leave the country. One may not always like his style and tactics but there is no gainsaying that Hawass has been more successful with his approach than many others. The dedication and enthusiasm he brought to the issue of restitution deserve the admiration of all honest people. [...] How many people can bring such energy and dedication to their work? We wish other countries had such worthy and energetic representatives who speak out clearly in the cultural field. The West, of course, has never liked intellectuals and representatives of non-Western peoples who know their work and articulate their positions boldly. A man like Hawass who mastered modern media and used them effectively was a thorn in the flesh of many. [...] One undoubted achievement of Zahi Hawass was his success in bringing together states with restitution claims in April 2010 to the Cairo Conference on restitution - Conference on International Cooperation for the Protection and Repatriation of Cultural Heritage - in Cairo, on April 7 and 8, 2010. For the first time, States with restitution claims met for two days to discuss common problems and to develop
strategies for recovering/stolen/looted cultural artefacts. In addition to emphasizing that ownership of cultural heritage by the country of origin does not expire, nor does it face prescription, the communique issued at the end of the conference added that the efforts initiated in Cairo should be pursued and expanded upon and there should be continued consultations among the participants as well as with other countries and institutions.

The dismemberment of the SCA which was to liaise with other delegations for the preparation of the next meeting and outlining the future activities of the Conference leaves the future of the initiative difficult to predict, but the very fact that it took place was an important step.

Opoku concludes:

The recent events in Egypt may be analysed and assessed differently but it would clearly be illegitimate to argue that the temporary disorder in that country offers a valid reason for not returning artefacts illegally taken from Egypt. Certainly, we do not expect anybody to return artefacts in the midst of revolts and public disorder. This situation however will improve soon and the retentionists in the West will be exposed for their dishonest arguments which are based on grounds other than the present disorder.

Indeed, now the (initial) anti-government demonstrations are over, the main source of danger to antiquities in Egypt is continuing theft from sites and museum stores which Opoku is right to link with the appetite of the foreign antiquities markets, he quotes the view of Prof. Barry Kemp:

The most useful thing the international community can do about this is to examine its conscience. The looting of sites is done to satisfy the market in antiquities, which continues to flourish in Europe and the US. It is now a reasonable assumption that any Egyptian piece that is for sale is either fake or was looted.

Western archaeological concerns

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Stepping into the role of a political commentator, Californian antiquity dealer Dave Welsh solemnly intones:

Whatever one's perspective regarding Libyan governmental legitimacy, such a state of flux is disturbing. In such circumstances there is always some risk that Western archaeological concerns may not be respected. At this point it appears that all that can be hoped for is that a Libyan regime will emerge which is sympathetic to Western archaeological concerns.

Why "western"? Is the "west" the only home of archaeologists who might be concerned about anything? Do brown skinned people in African countries not count for anything in the US antiquity dealers' world-view?
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Looted Ghanaian Gold in Britain

Kwame Opoku., 5 January, 2011

WHEN WILL BRITAIN RETURN LOOTED GOLDEN GHANAIAN ARTEFACTS? A
HISTORY OF BRITISH LOOTING OF MORE THAN 100 OBJECTS

A recent visit to London reminded me that apart from the British
Museum, and the Victoria and Albert Museum many other museums in
London and elsewhere in the United Kingdom are still holding onto
African cultural artefacts which, to put it very mildly, were removed
from the continent under conditions and circumstances which can be
considered as questionable. One such museum is the Wallace
Collection, London.

full text including links and images:

http://www.museum-security.org/opoku_asante_regalia.htm

Can't Trust the Natives

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In a post ('More on Benin Mask') on his little-read Cultural Property Objector blog, Washington lawyer Peter Tompa argues that "additional context is necessary" to the story of the withdrawal of the sale of colonial loot by Sotheby's last week. According to Tompa "any Nigerian claim to the high moral ground" is "undercut" by the "destruction of the Oron Museum and the wanton burning of hundreds of ancestral figures (ekpu) as firewood during and after the Biafran civil war".

In short, any self-righteous indignation about 19th c. looting needs to be tempered by an acknowledgement of what Nigeria itself did to Oron culture in 1975.

So basically Tompa is saying that material looted from Benin by the British punitive expedition should not be returned because the natives had a destructive civil war forty years ago? That argument reeks of neocolonial paternalism.

See also: Elor Nkereuwem, 'Time and tide at the Oron Museum'.
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Benin Mask Sale cancellation: Tactical Withdrawal or Decision of Principle

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[...] The cancellation notice of the auction of Queen-Mother Idia mask on 4 December by Sotheby’s could not have been shorter: “The Benin Ivory Pendant Mask and other items consigned by the descendants of Lionel Galway which Sotheby’s had announced for auction in February 2011 have been withdrawn from sale at the request of the
consignors". This short notice is a great contrast to the enthusiastic announcement of the proposed auction where the excellent artistry of the hip mask was underlined. “All of the ivory masks are widely recognized for the quality of their craftsmanship, for the enormous scale of Benin’s artistic achievement and for their importance in the field of African
art “. But what more does the cancellation tell us? Very little except that the proposed auction will not take place as announced. Will the auction take place sometime in the future and somewhere else other than at Sotheby’s? Will the mask be silently passed on to one of the so-called “universal museums” without our knowing?

read full text and view images at:
Kwame Opoku, 'REFLECTIONS ON THE ABORTIVE QUEEN-MOTHER IDIA MASK AUCTION: TACTICAL WITHDRAWAL OR DECISION OF PRINCIPLE?'

Behind the Duveen Gallery

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The recent of the new Parthenon Museum in Athens poignently reminds us of the marble fragments now kept defiantly in the stark gallery in the British Museum in London. The gallery itself was built in 1937-8 and named after its founder Joseph Duveen (1st Baron Duveen of Millbank), arguably one of the most influential art dealers of all time. In the context of the subject of this blog, though not directly involved in the trade in portable antiquities per se, Duveen seems to have been to no little extent influential on the development of the attitudes that lay behind a substantial part of it. Duveen died almost exactly seventy years ago (May 25th 1939), so it seems worth paying a little attention to this gentleman.*

Born into a family involved in the import business in Hull, from 1909 onwards Duveen began to focus on the lucrative trade in paintings. Due to his good eye, skilled salesmanship and insight into human behavior he quickly became one of the world's leading art dealers. In this he was helped by his partnership (between 1912 and 1936) with Bernard Berenson and together they above all generated increased interest in the US in works of art of the Renaissance. Duveen was knighted for his philanthropy in 1919 and in 1933 he was created Baron Duveen, of Millbank (in the City of Westminster).
A large part of the market on which Duveen concentrated was in the States, he famously noted that "Europe has a great deal of art, and America has a great deal of money". He thus found a niche buying works of art from declining European aristocrats and selling them to the millionaires of the United States in which he was very successfull. See also the online review of the biography "Duveen: A Life in Art", by Meryle Secrest, New York, Knopf, 2004; by Peter Dailey ('The Dealer King').

Duveen played an important role in convincing the so-called "robber baron " industrialists and financiers that buying art was a means of social legitimation, a means of buying upper-class status and reknown. Duveen's clients included Henry Clay Frick, William Randolph Hearst, Henry E. Huntington, J.P. Morgan, Samuel H. Kress, Andrew Mellon, John D. Rockefeller, and Frank Porter Wood in Canadia. Another of his clients in his later years was J. Paul Getty. Through the donation of the collections of these individuals to public institutions, many of the works that Duveen shipped across the Atlantic now comprise the core of the collections of many of the United States' finest museums, for example the Frick collection in New York, the Frank P. Wood collection at the Art Gallery of Ontario, the Huntington Library, and the Mellon and Kress collections now in the National Gallery of Art in Washington and elsewhere.

The marketing skills of dealers like Duveen seem to be responsible for the current attitudes of US collectors of portable antiquities such as coins. We see these collectors time and time again presenting themselves as some kind of intellectual elites, preserving for the hoi polloi around them selected elements of "classical culture" and an awareness of "other cultures" which (they argue) is being eroded by declining standards in public education in the States. They present their mission as a public one pursued through private collection, a paradox that is not peceived due to the legacy of dealers like Duveen and the "robber baron" collectors. The main difference is that the collections today are so much more widespread and down market from Duveen's day, instead of the second Ardabil Carpet, these collectors are buying "English dug ups" (bulk lots of Roman coins for "zapping"), bulk lots of broken metal artefacts stripped from Balkan Roman settlements and cemeteries, grave pots and lamps, shabti figures from Egyptian tombs and the odd mummified human foot or other such grisly status-enhancing (sic) "relic".

* This text is largely compiled from Wikipedia, which is also the source of the photo used here.