The case of the return of two solemn Greek Orthodox Patriachal documents and an 18th century Ottoman firman has been highlighted in this tweet from @artlawles. It is an interesting case that is also relevant to the ongoing debate over the return of looted cultural treasures 1/6
According to records kept by the #BritishLibrary@britishlibrary the rare sigallia confirming the patriarchal value of the Holy Monastery of Panagia #Chrysopodaritissa and the related Turkish Sultanate firman of 1786 (pictured) were "presented" in 1988 by Walter Stecklemacher 2/6
Reports suggest that they were looted from the monastery by archaeologists in 1979 and later sold abroad. A keen observer saw them on the British Library’s website and in due course the relevant Greek antiquities authorities were notified and formally approached the Library 3/6
The British Library Act 1972 relevantly provides that the British Library Board is conferred with an incidental power to acquire or dispose of any property, whether or not for the purposes of their collection: legislation.gov.uk/ukpga/1972/54/… 4/6
This power is to be contrasted to the perverse restrictions on deaccession in the British Museum Act which are routinely cited as the reason why the @britishmuseum will not even countenance the return of the #ParthenonSculptures looted by Lord Elgin over 200 years ago 5/6
The return of the rare manuscripts and firman from British Library to Greece is an example of enlightened Anglo-Hellenic cultural co-operation in the context of illegal trafficking of antiquities. It's time that the #ParthenonMarbles are also finally reunited. @ReuniteMarbles 6/6
The poem "Ode on a Grecian Urn", with its opening lines “Thou still unravished bride of quietness,/Thou foster child of silence and slow time”, was inspired by John Keats’ viewing of the #ParthenonMarbles in the Elgin Room of the #BritishMuseum in 1817. 1/6
A panel in the #Parthenon frieze arouses Keats’ attention where the procession features "that heifer lowing at the skies", with its upturned tilt and stretch and silken flanks. Keats’ sylvan historian can only but enquire: “What men or gods are these?" 2/6
What the imagination seizes as beauty in the case of the Elgin Marbles is a reflection of the paramount importance of aesthetic integrity. Truly, the Parthenon Sculptures are a "thing of beauty is a joy for ever” as John Keats wrote in the memorable first line of "Endymion". 3/6
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
"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