The stolen manuscript was auctioned at Christies New York @Christies in 2011 and the catalogue entry is not unsurprisingly notable for lack of any real provenance detail: christies.com/lotfinder/book… 3/3
#Greece remains steadfast in its pursuit of cultural artefacts, such as the recent Bronze Horse litigation: targ.org.uk/2020/06/16/the…. However, the reunification of the #ParthenonSculptures is, and must be, at the core of restitution of looted cultural treasures @ReuniteMarbles 4/4
"You Hide Me Still: 50 Years On"- An iconic film shot in 1970 in #BritishMuseum by Nii Kwate Owoo which exposed the theft and concealment of African artefacts in the basement of the British Museum. In 2020 the spirit of #restitution beckons. eventbrite.co.uk/e/you-hide-me-…@EventbriteUK
The seminar Lost Heritage was held at Africa Centre London in 1981. A #UNESCO spokesman noted that it was ironic that the conference was being held in UK, a “country which has given a great deal to the world and to other peoples but which has also taken a great deal from them”
The film "You Hide Me" is the filmmaker's recording of a very important segment of African history: the pillage and the plunder of African cultural artefacts by Europeans by reference to what he uncovered in the #BritishMuseum, much of which is stored out of public view.
The plaque was part of a large cache of Benin decorative plaques looted during the British punitive military expedition of 1897. This plaque, cast in brass, depicts a mudfish, not dissimilar to a plaque currently in the collection of @WeltmuseumWien which was 'acquired' in 1899
Doubts have been cast by scholars @artcrimeprof and @profdanhicks as to its provenance as described on the auction house website at christies.com/lotfinder/lot/… Frederick Knize was an Austrian collector whose descendant sold the plaque to the New York art dealer John J Klejman
Tschumi and his Greek collaborator, Michael Fotiadis, came up with a design based on movement and light, embodying an ethos that this museum needs to consider its role both as a repository for its collections and as an influential context for the Classical art of its time. 2/4
The essence of the architects' brief was to construct a museum that would establish a unique visual experience with the #Parthenon, not as destination museum, but in a sensual dialogue between the #ParthenonSculptures and the Parthenon itself that would reach across centuries 3/4
However, the #BritishMuseum has never apologised for its shameful part in the British Army's brutal conquest and looting of rare Ethiopian artefacts at the Battle of Maqdala in 1868, in a clear case of officially sanctioned plunder and murder 2/4
Or its part in acquiring the looted #BeninBronzes, some of Africa’s greatest treasures, after a British punitive military expedition in 1897, and maintaining to this day that they were lawfully 'purchased' and will not be returned. 3/4