THE RING, by Andreas Apostolides
Rotterdam, December 20, 2005

+++80 minutes documentary about the illicit trade in Greek antiquities+++

A 'must-see' for museum directors, curators, collectors, art historians and
art history students. Dealers and auction houses too should see this
fascinating documentary, even though I am very pessimistic that it will
change their attitude towards the trade in unprovenanced antiquities. 

James Ede, chairman of the The International Association of Dealers in
Ancient Art just states that dealers are not to be blamed for these illicit
activities, and that the source countries should better take care of their
cultural heritage. Last week Mr Ede stated in an English newspaper: "We have
identified the provenance of lots of pieces and I have to say we've
identified stolen pieces as well. We've been responsible probably for
recovering more stolen goods than the law agencies of some of these
countries." Without any doubt one may say that Mr Ede without any doubt also
is responsible for the fencing of more stolen goods than the law agencies of
some countries..
Another revealing statement by James Ede: "You cannot stop much of what we
term 'looted' or illicit antiquities from appearing. 
The legitimate antiquities market should be allowed to deal in them, rather
than driving the whole business underground." 
"Frankly if people have no food in their mouths, and they see a source of
income they will probably take it. That is an economic issue and until the
economics are addressed, I don't think there is anything that can be done." 
According to James Ede nowadays prices of provenanced antiquities go sky
high. There must be a reason for that. Provenanced antiquities are extremely
rare. All other antiquities, unprovenanced, are the result of illicit
activities.

Neil Brodie and Colin Renfrew of the Illicit Antiquities Research Center
know better: without a market there will be no trade.

All dubious dealers are in this impressive documentary: the Greek
Koutoulakis with shops in Paris and Geneva, Robin Symes (the center off all
illicit trade in antiquities according to several people interviewed in this
documentary), De Medici, Robert Hecht. Collectors with dubious collections
such as Ortiz, White, and Borowski. It is a shame that Borowski's collection
went to a museum in Jerusalem, thus legitimizing the loot of antiquities.
The Miho museum bought many of it's unprovenanced antiquities from Symes in
London, a very dubious source. Jerom Eisenberg of the Royal Athena Gallery
shows most clearly that there really is nothing 'royal' about his gallery.
He remembers very well, and is quite honest about this, that he bought some
27.000 Egyptian objects in the early sixties, but that only some 80 of those
had a trustworthy provenance. Talking about the more recent acquisition of
objects stolen from a museum in Corinth, Greece, all of a sudden he is
suffering from senior moments, and cannot remember anything. That the
illicit trade in antiquities is far from 'noble' shows the bruised face of
the night guard who was molested by the thieves that robbed the Corinth
museum of 271 objects.

Thomas Hoving, former director of the Metropolitan Museum in New York and
author of the revealing auto-biography Making the mummies dance, is as
controversial as ever. He tells about the 'three foot rule'. "Never buy any
objects over three feet tall, for that may enrage certain countries". This
also goes for smaller items with a lot of gold. He tells frankly about the
marble head of Saint Paul he bought from criminals. However, what is the use
of these confessions if it does not lead to the return of objects? Hoving's
attitude is just: "that's how we used to work". No apologies, no efforts to
correct what is wring, Just justification because things were regarded
differently in those days. Were they? I don't think so. In those days too
Hoving knew very well that some of his acquisitions were very immoral. His
recent commentary in the Los Angeles Times about the Marion True litigation
shows that he still has an unpleasant, colonial attitude towards
source/victim countries.

The Ortiz collection is loaded with antiquities looted in Crete. In 1968
there was a Greek warrant for the arrest of Elie Borowsky. Most
unfortunately, and here Apostolides shows the courage to criticize his own
government, the Greeks started an international campaign for the return of
the Parthenon (Elgin) marbles, but very little effort was put into the
recovery of more recently looted antiquities. Let's hope that the Greeks
finally realise that they should follow the admirable Italian example.
Ortiz: "Dubious dealers took advantage of my passion as a collector". It is
one of the conclusions of this documentary: nobody seems to be responsible.
Dealers blame the source countries and the tombaroli, collectors blame
dealers, museums hide behind innocence and naivety.

Of course Marin True and her bonds with De Medici too are part of this
intriguing documentary. Shelby White and the collection she build with her
husband is referred to, but the maker of the documentary was not allowed to
film the collection. It seems Ms White - at the board of the Metropolitan
Museum - has something to hide, and prefers to avoid difficult questions.
The role of museums gets a very critical comment. The Royal Academy in
London showed part of the Ortiz collection. The Borowsky collection is in a
museum in Jerusalem, the Fleischmann couple managed to sell their
collection, including several unprovenanced antiquities, for a huge amount
to the Getty Museum (and Ms Fleischmann still is at the board of that museum
in spite of the loan her husband allowed curator Marion True). In the
Jerusalem Museum a curator (?) is being interviewed, but as soon as she
dares to call Borowsky not only a collector, but also a dealer is
reprimanded by someone in the background. She just smiles abashed and
declares: "This is a very delicate subject". The Karlsruhe Museum in Germany
too did not hesitate to show the Borowsky collection in 2002. All these
museums assist unscrupulous collectors to acquire esteem for their
unprovenanced collections.

The role of Sotheby's again is explained by Peter Watson. The antiquities
department in London of this former reputable, but recently dubious auction
house was closed in the mid nineties. The (illicit) trade in antiquities was
moved to the USA, and according to Peter Watson partly taken over by
Christie's. Christie's sold many items stolen from the museum in Corinth.
Registration numbers were erased, and provenances restricted to "from an
American collection". However, the FBI managed to show that this American
collector was someone originally from Belize and now living in Miami. The
traces back to Corinth could easily be shown. Christie's could and should
have done that as well. Apparently performing due diligence is not part of
the daily routine.

Robert Hecht appears to be a real talent in making up provenances. He did so
with the infamous Euphronius Crater that was looted in Italy. Here too
Thomas Hoving is the one to give clarity about what happened. Robert Hecht
told the MET that he bought the vase from Sarafin in Beirut. An American
journalist wanted to know more about that and traveled to Beirut. Upon
arriving at Sarafin's he was told that it seemed everybody wanted to visit
him. Hecht had just left to make sure the fake provenance worked
retrospectively. Send the Euphronius Crater back, one wants to shout!

Talking about the Illicit Antiquities Research Center Eisenberg of the Royal
Athena Gallery says the name of this very important center seems to
originate from a Monthy Python show. It's (former) director Colin Renfrew
is, still according to Eisenberg, a man who is convinced that all dealers
are dubious. I do not know if this is Renfrew's opinion, but after seeing
this documentary it has become my opinion at least about Mr. Eisenberg and
his 'Royal' gallery. Hoving shares my opinion when he start to laugh aloud
hearing Eisenbergs excuse for having bought objects stolen from the Corinth
Museum. "He should have known", Hoving states.

Dealer Michael Warden is exposed as a center player in the theft of the
Aidona hoard. Attention is given to Freeport Geneva and the De Medici
depositories. De Medici and Robin Symes, yes he again, had the same address
in Geneva. This very comfortable Swiss legal construction without customs
checks is about to end. Switzerland will ratify the Unesco 1970 convention
thirty years after it was written. A very important route for the illicit
trade in antiquities will be closed. Finally. 
De Medici used to have some 10.000 objects in his warehouse in Geneva.
Marion true bought some of those. Recently the Carabinieri revealed
photographs take in the De Medici warehouses of items now in the Getty
collection.

Another very interesting statement about Robin Symes: "Provenance was never
his strong point". That weak point made him very rich. In this documentary
again Symes is shown walking around is Bentley. One day I would love to see
his fancy house in West London with the swimming pool in the basement. By
preference after it has been confiscated in a legal procedure.

Again, a 'must-see' this documentary. I do hope it will be broadcasted in as
many countries as possible, not only in the consumer countries, but also in
the source countries.

Contact info:

Rea Apostolides
Associate Producer, "The Network"
Anemon Productions
www.anemon.gr
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Ton Cremers
Rotterdam, December 20, 2005




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