Month: March 2015

Huge tomb of Celtic prince unearthed in France: ‘Exceptional’ 2,500-year-old burial

“Huge tomb of Celtic prince unearthed in France:

‘Exceptional’ 2,500-year-old burial”

The tomb of an Iron Age Celtic prince has been unearthed in a small French town.

The ‘exceptional’ grave, crammed with Greek and possibly Etruscan artefacts, was discovered in a business zone on the outskirts of Lavau in France’s Champagne region.

The prince is buried with his chariot at the centre of a huge mound, 130 feet (40 metres) across, which has been dated to the 5th Century BC.

The biggest find at the site was a huge wine cauldron. Standing on the handles of the cauldron, is the Greek god Acheloos. The river deity is shown with horns, a beard, the ears of a bull and a triple mustache

A team from the National Archaeological Research Institute, Inrap has been excavating the site since October last year.

They recently dated it to the end of the First Iron Age – a period characterised by the widespread use of the metal.

Its discovery could shed light on Iron Age European trade, researchers say.

The 2,500-year-old burial mound has at its heart a 14 square metre burial chamber, not yet opened, of an ancient royal.

An Iron Age Celtic prince lay buried with his chariot at the center of this huge mound in the Champagne region of France, according to the country’s National Archaeological Research Institute (Inrap)

Eight lioness heads decorate the edge of the cauldron (right). Inside the cauldron, the archaeologists found a ceramic wine vessel, called oniochoe (left)

A team from the National Archaeological Research Institute, Inrap has been excavating the site since October last year. Pictured is part of the cauldron found

‘It is probably a local Celtic prince,’ Inrap president Dominique Garcia told journalists on a field visit.

WHAT WERE THE KEY FINDS?

The prince is buried with his chariot at the centre of a huge mound. His chamber has not yet been opened.

This biggest find was a large bronze-decorated cauldron that was used to store watered-down wine.

The cauldron has four circular handles decorated with bronze heads that depict the Greek god Acheloos.

Another interesting discovery was a perforated silver spoon that was part of the banquet utensils, presumably to filter the wine.

The mausoleum contained a decorated ceramic wine pitcher made by the Greeks.

The most exciting find, he said, was a large bronze-decorated cauldron that was used to store watered-down wine. It appears to have been made by Etruscan craftsmen from an area that is today in Italy.

The cauldron has four circular handles decorated with bronze heads that depict the Greek god Acheloos.

The river deity is shown with horns, a beard, the ears of a bull and a triple mustache.

Eight lioness heads decorate the edge of the cauldron.

The mausoleum contained a decorated ceramic wine pitcher made by the Greeks.

Decorations on the vessel reveal the god Dionysus, lying under a vine and facing a woman.

The archaeologists also found remains of a iron wheel, from a chariot buried with the prince.

Another interesting discovery was a perforated silver spoon that was part of the banquet utensils, presumably to filter the wine. . . . .

by Ellie Zolgfagharifard via “Daily Mail“
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ISIS BURNS MOSUL LIBRARY, DESTROYING OVER 8,000 HISTORIC BOOKS

Wow, between the barbarians and the unfortunate series of fires, our libraries are seriously under threat right now! **DB

“ISIS BURNS MOSUL LIBRARY, DESTROYING OVER 8,000 HISTORIC BOOKS”

Mary Chastain via “Breitbart“

The Islamic State (ISIS/ISIL) burned down the Mosul public library, which was home to over 8,000 rare books and manuscripts.

“ISIS militants bombed the Mosul Public Library,” said library director Ghanim al-Ta’an. “They used improvised explosive devices.”

The terrorists regularly destroy shrines, tombs, books, and manuscripts as they attempt to implement their caliphate over Syria and Iraq. Elderly residents begged the men not to burn the building. From Yahoo:

The former assistant director of the library Qusai All Faraj said that the Mosul Public Library was established in 1921, the same year that saw the birth of the modern Iraq. Among its lost collections were manuscripts from the eighteenth century, Syriac books printed in Iraq’s first printing house in the nineteenth century, books from the Ottoman era, Iraqi newspapers from the early twentieth century and some old antiques like an astrolabe and sand glass used by ancient Arabs. The library had hosted the personal libraries of more than 100 notable families from Mosul over the last century.

“900 years ago, the books of the Arab philosopher Averroes were collected before his eyes and burned,” said activist and blogger Rayan al-Hadidi. “One of his students started crying while witnessing the burning. Averroes told him… the ideas have wings… but I cry today over our situation.”

“What a pity!” exclaimed Akil Kata, who fled Mosul years ago. “We used to go to the library in the 1970s. It was one of the greatest landmarks of Mosul. I still remember the special pieces of paper where the books’ names were listed alphabetically.”

The militants also destroyed the church of Mary the Virgin and the Mosul University Theater on the same day.

The terrorists raided the Central Library of Mosul in December to destroy all non-Islamic books. The library was “the biggest repository of learning the northern Iraqi town.” More than likely the terrorists destroyed “Iraq newspapers dating to the early 20th century, maps and books from the Ottoman Empire, and book collections contributed by about 100 of Mosul’s establishment families.” After that raid, the militants targeted the library at the University of Mosul. They burned science and culture textbooks in front of the students.

Art Law Rising

“Art Law Rising”

by Robert Milburn via “Barron’s”

The fast-growing and unregulated art market, invaded by art-collecting novices, has already seen a proliferation of hand-holding art advisors. Now we are seeing a new art advisor enter the market: specialist lawyers helping to settle ownership, copyright and authenticity disputes.

“Even people that have experience make common mistakes,” says Brian Kerr, partner at the recently launched art law firm Spencer Kerr. “The works being sold are of staggering value so the stakes are just too high.” That’s precisely when people reach for their lawyers.

Getty Images

Ronald Perelman purchased Popeye, by artist Jeff Koons, from Larry Gagosian.

Consider billionaire art collector Ronald Perelman, who sued fabled art dealer Larry Gagosian, claiming Gagosian “took advantage of his position of trust” and misrepresented the value of certain works. According to the lawsuit, Gagosian overvalued works sold to Perelman and undervalued pieces it bought from the collector. Among the works changing hands were sculptures by Jeff Koons and Richard Serra and paintings by Cy Twombly. In December, Perelman lost in an appeal with a five-judge panel essentially ruling that the sophisticated collector could have conducted his own due diligence.

Kerr represented London-based filmmaker Joe Simon-Whelan, in 2009, against the Warhol Foundation for the Visual Arts. Simon-Whelan purchased a Warhol silkscreen self-portrait for $195,000 in 1989, which back then was deemed genuine by the foundation. He resubmitted it to the foundation for authentication, in 2001 and 2003, just before an anticipated $2 million sale, and this time the work was twice branded a fake.

In the end, the Warhol foundation spent $7 million on its defense. Simon-Whelan eventually folded and was awarded nothing, claiming he was “deeply saddened” about being “unable to reveal the truth in court, but faced with bankruptcy, continuing personal attacks and counterclaims, I realized I no longer stood a chance of proceeding further.” Shortly thereafter, in 2012, the Warhol authentication board was disbanded.

Much of Kerr’s current work involves helping shell-shocked collectors recover scraps from among the emotional and financial wreckage, after purchasing a fake. But the law firm is also connecting its previously-burned clients with outside consultants and art advisors to help them establish clear provenance and authenticity before they buy new work.

“The goal is that when [clients] stick up their hand at an auction or buy from a gallery, that the legal side and consulting work is done hand-in-hand,” Kerr says. He adds that the consultants bill separately for their services and the law firm collects no fee for referring the business.

Art auction records shattered in London

“Art auction records shattered in London”

by Motez Bishara via “AlJazeera“

It took a breathtaking span of 26 hours in London for more records to fall in the thriving global art market.

Works by Gerhard Richter, Lucio Fontana, and Cy Twombly were among those that set the pace at the post-war and contemporary art sales hosted by Christie’s and Sotheby’s.

The highest priced lot took place on Tuesday when Richter’sAbstraktes Bild surprised the packed auction room on Bond Street with aggressive phone bids coming in at 2 million British pound increments ($3.1m).

The final sale price of 30.4 million pounds ($46.8m) established a new auction record by a living European artist.

The anonymous bidder, reported to be an American, was represented by Sotheby’s

worldwide co-head of contemporary art,

Cheyenne Westphal.

“I think I can genuinely say it went to someone who truly wanted this painting, and he was set on buying it tonight,” Westphal said, noting Richter also happened to be her favourite artist.

A sister painting of the large abstract work was sold by

Eric Clapton in 2012 for a then-record of 21 million pounds ($32m).

The artwork, which measures 3 x 2.5 metres draped with jagged lines of reds and greens, was last sold on auction at Sotheby’s in 1999 for $607,500, generating a return of 32.4 percent annually.

“Richter is not hot all of a sudden, he has always been sought after,” said Arianne Levene Piper,

founder of the New Art World consultancy

“There are plenty of ultra-high net worth collectors who are willing to pay for top works.

This explains why a great painting by a great artist will sell for high prices at auction.”

Works by another European artist, Francis Bacon, failed to make headlines this auction season, despite drumming up a buzz prior to the sales.

Coming Exhibition: THE WONDERFUL LAND ARTISTS IN EAST PRUSSIA

“THE WONDERFUL LAND ARTISTS IN EAST PRUSSIA”

Who:

Lithuanian Art Museum

When: May 8, 2014 – May 8, 2016 (Hours Vary)

Where:

Lithuanian Art Museum
Liepu Str. 33, LT-92145
Klaipėda, Lithuania

More Information: Here

The Society of East Prussian Art Lovers’ Nidden was founded in 2009 in Klaipėda by a small group of ethnography and history lovers. The aim of Nidden is to search, collect and promote paintings from East Prussia that picturesquely portray the nature, history and inhabitants of this region.

Aleksandr Popov, the chair and an active member of the Society, has been collecting paintings related to East Prussia for almost a decade. To date the collection has nearly 1,000 works of fine art and graphic art by almost 300 painters. Nidden promotes and presents its collection to the public, and it also organizes exhibitions – with over ten held so far in Nida, Rusnė, Kaliningrad (Russian Federation), Klaipėda, Kaunas and Vilnius. The success of and public involvement in the exhibitions, and the information and experience gained while searching for new works served as encouragement for the Nidden Society to release an educational publication – The Journey to the Prussian Barbizon, based on Popov’s collection of paintings.

Members of the Nidden Society have drawn-up a list of painters: over 400 that created works in East Prussia. Popov’s collection is continually updated by paintings and graphic art works, and newly purchased items are awaiting research and revision of dates and authorship.

The fine art of East Prussia reflected many international cultural connections, interweaving many styles and trends of European art. Due to the complicated history of the region, many artists were forgotten, many works were lost, some became private property, and only a few ended up in museums. Thus Popov’s collection is valuable not only aesthetically, but also historically and educationally.

Over 100 artists are presented in the exhibition, and over 200 paintings and graphic art works are to be displayed. They were created in the 19th century and in the first half of the 20th century, during the blossoming of fine art in East Prussia, when the region was a centre of attraction for many painters.

These oil, tempera, water colour and pastel paintings, prints made using various graphic art techniques, drawings and reproductive prints represent the most significant phenomena of fine art history in East Prussia – the Königsberg Art Academy and the Artists’ Colony of Nida (Nidden), as well as the works of painters that were born, permanently lived or occasionally visited this region.

The exhibition is mainly composed of landscapes that depict the motives of various East Prussian locations (the coasts of the Semba peninsula, the Vistula lagoon, the Curonian Spit and others). These landscapes reveal the beauty of forests, fields, waters and dunes – sometimes severe, sometimes mysterious or remarkably explicit. In addition to the landscape works there are also figural compositions, still life works and portraits.

Artists from the 19th to the first half of the 20th century often changed their place of residence, and were not afraid of taking long journeys. The biographies of local and arrived artists feature cities and countries where the artists spent time learning, studying, holding exhibitions, and in the works we see motifs reminiscent of other countries, alongside images of East Prussia. The characteristic mobility of artists from this period, their exchange of ideas, and the recognition of new art styles contributed to the variety of East Prussian art and its popularity far beyond the country’s borders.

The spectrum of the styles of work in the exhibition is very wide: from Academism, sentimental Realism, late Impressionism, and Naturalism, to Expressionism and New Objectivity. Some works, created in the second half of the 20th century and which represent late Expressionism, reveal a phenomenon of East Prussian fine arts post-1945: unable to return to their beloved places, painters created paintings by memory, based on their impressions deep in their minds.

The eloquent works of this long term exhibition are in show in the gallery alongside the Pranas Domšaitis permanent collection of works, and allow us to gain a better understanding of the creative origins, influences and historical context of these painters hailing from Prussian Lithuania. Many of the artists presented in “The Wonderful Land” were contemporaries of P. Domšaitis: teachers, colleagues, friends who he studied with at the Königsberg Art Academy, painted with along the coasts of the Semba peninsula, visited the Curonian Spit, and discussed art, participating in exhibitions in Königsberg, and other cities of Germany and Europe.

Kristina Jokubavičienė