Christos in Germany

Christos Tsirogiannis has identified four objects in the forthcoming Gorny & Mosch auction to be held in Munich on 14 December 2016 that appear in the confiscated image archives of Robin Symes and Gianfranco Becchina. They are:

 

lot-19-symes

 

Lot 19. An Etruscan bronze figure of a youth (mid-fifth-century BC). Provenance: R.G. collection Germany; Royal-Athena Galleries, New York, catalogue 21, 2010; Sotheby’s London, 13 July 1981, lot 341.

Christos first recognised this figure in the Symes archive back in January 2011, when it was on offer at Royal-Athena Galleries, though clearly no action was taken by the relevant authorities as it has now reappeared on the market. David Gill has more to say about the figure’s provenance, showing among other things that it had been offered previously by Royal-Athena Galleries in 1985.

 

lot-87-in-becchina

Lot 87. An Apulian red-figure situla of the Lycurgus Painter (360–350 BC). Provenance: James Stirt collection, Vevey, Switzerland, acquired 1997 from Heidi Vollmöller, Zurich.

This piece appears covered with soil and salt encrustations on a Becchina image, alongside other objects in the same condition. A handwritten note indicates that the images were sent from Raffaele Montichelli, a convicted antiquities trafficker, to Becchina on 18 March 1988.

 

lot-88-in-becchina

Lot 88. An Apulian red-figure bell-krater of the Dechter Painter (350–340 BC). Provenance: Antike Kunst Palladion gallery, Basel; Borowzova collection, Binnigen, Switzerland, acquired 1976 from Elie Borowski, Basel.

Antike Kunst Palladion was Becchina’s gallery in Basel. The krater appears on an image from the Becchina archive looking freshly excavated with soil and salt encrustations. The date printed on the image reads ‘APR 4 ’89’ (4 April 1989), raising questions about the alleged ownership of Elie Borowski 13 years earlier in 1976. The Gorny & Mosch provenance also notes that the krater was attributed to the Dechter Painter by A.D. Trendall.

 

lot-127-in-becchina

Lot 127. A Gnathia ware squat alabastron with the bust of a winged woman with sakkos, and said to be from the White Sakkos Painter (Apulia, 320–310 BC). Provenance: Christie´s London, 15 April 2015, lot 113; Hans Humbel collection, Switzerland, acquired from the Galerie Arete, Zürich in the early 1990s.

This alabastron appears on an image sent to Becchina by Raffaele Montichelli, alongside several other objects, dating to 24 September 1988. Christos previously identified this alabastron a year and a half ago as one of two vases comprising lot 113 in the Christie’s London 15 April 2015 sale. The alabastron was one of four identifications made by Christos in the Christie’s sale and subsequently withdrawn. Lynda Albertson adds that the provenance provided in the 2015 Christie’s catalogue entry states that the piece had been acquired by the consignor from the Petit Musée, Montreal, in 1998.

 

Lynda Albertson has also very helpfully provided a German-language description of the material.

 

Geddes surfacings

On 20 November 2016, Christian McCann Auctions of Melbourne, Australia offered for sale the fine and decorative art collection of Stewart Macciolli. The collection included a range of Classical Greek and South Italian pottery. Some of the pottery had been seen before in the catalogue of the Bonhams London 15 October 2008 auction of the collection of Melbourne-based dealer Graham Geddes. The day before the sale was due to go ahead, however, Bonhams withdrew 13 pieces from auction.

Five lots offered by Christian McCann in November had been withdrawn by Bonhams in 2008. They were:

Lot 331. An Attic red-figure bell krater, attributed to the Retorted Painter, circa 380–360 BC. (Sold 36,000 AUD).

Provenance: Sotheby’s London, 20 May 1985, lot 383.

Exhibited: Borchardt Library, La Trobe University, Melbourne, March 1995–April 2008.

The krater was lot 9 in the 2008 Bonhams sale.

Lot 332. An Attic black-figure column krater, attributed to the Swing Painter, circa 530 BC. (Passed).

Provenance: Sotheby’s London, 13–14 July 1987, lot 440.

Exhibited: Department of Fine Arts, University of Melbourne, March 1988–February 1994; National Gallery of Victoria, Melbourne, April 2005–April 2008.

The krater was lot 6 in the 2008 Bonhams sale.

Lot 335. A Campanian red-figure neck amphora, attributed to near the Chequer and Dirce Painters, circa 380 BC. (Sold 16,200 AUD).

Provenance: Amati Collection London, mid-1970s.

Exhibited: Melbourne University, March 1988–July 2003; Museum of Mediterranean Antiquities, Monash University, Melbourne, November 2005–April 2008.

The amphora was lot 36 in the 2008 Bonhams sale.

Lot 336. A Campanian red-figure bell krater, circa 335 BC. (Sold 6,400 AUD).

Provenance: Sotheby’s London, 22 May 1989, lot 199.

Exhibited: Museum of Mediterranean Antiquities, Monash University, Melbourne, November 2005–April 2008; University of Melbourne, March 1995–July 2003.

The krater was lot 26 in the 2008 Bonhams sale.

Lot 337. An Apulian red-figure pelike, circa fourth century BC. (Sold 9,200 AUD). 

Provenance: Ex Haley’s, Melbourne, 2003.

Exhibited: University of Melbourne, Australia, March 1995–July 2003.

The pelike was lot 150 in the 2008 Bonhams sale. The Bonhams provenance made no mention of Haley’s but said the piece had been acquired in England in 1979.

None of the provenance entries for the Christian McCann auction made mention of the 2008 Bonhams catalogue. Someone was clearly aware of it, as the object descriptions are closely similar. Take Christian McCann lot 336, for example, which was described as:

‘Enlivened with added white, side (a) showing the figure of a male acrobat, his body bent backwards into an arch, wearing a tight short patterned kilt with a spotted waistband, a beaded band around his head, with ivy leaves in the field, side (b) depicting a swan in profile to the right, with a rosette and ivy leaves in the field, each scene flanked on either side by a split palmette, with small palmettes under the upturned handles, a wave pattern baseline below, a band of laurel beneath the exterior rim’.

In the 2008 Bonhams catalogue, it was described as:

‘Enlivened with added white, side (a) showing the figure of a male acrobat, his body bent backwards into an arch, wearing a tight short patterned kilt with a spotted waistband, a beaded band around his torso, bracelets at his wrists and ankles, a laurel wreath around his head, with ivy leaves in the field, side (b) showing a swan in profile to the right, with a rosette and ivy leaves in the field, each scene flanked on either side by a split palmette, with small palmettes under the upturned handles, a wave pattern baseline below, a band of laurel under the exterior rim’.

The Christian McCann sale of this pottery raises many questions. In the first place, why was the pottery withdrawn from sale by Bonhams in 2008? It was reported at the time in the Daily Telegraph that ‘Bonhams made the last minute decision not to auction the artefacts after being told by the Italian embassy in London that some of them were probably stolen and illegally exported from Italy’ (Squires 2008). But either the Italian authorities did not follow up their allegations or were not able to prove them. Either way, the pottery ended up with Macciolli. Given the Melbourne connection between Geddes and Macciolli, the most likely course of events is that Bonhams returned the material to Geddes, who subsequently sold it to Macciolli. That does not exclude the possibility that Bonhams took a more active role in arranging the sale between Geddes and Macciolli. But was Macciolli made aware of the Bonhams history? Did he receive any reassurances? Was Christian McCann made aware of the Bonhams history? If so, why was it not included in the individual provenance entries? Finally, four of the five pieces offered by Christian McCann sold. Were the buyers made aware of the Bonhams history at time of purchase?

Despite the questionable provenance of the pieces, prices achieved at the Christian McCann sale held up well. The following table compares the achieved prices at Christian McCann with the Bonhams estimates (all prices in USD). Direct comparison is misleading because of the time lapse, but still, there is little evidence of questionable provenance having a serious negative impact on price, as is often claimed.

Christian McCann lot Christian McCann price Bonhams estimate
331 26,280 32,000-44,000
335 16,200 13,000-19,000
336 4,698 2,500-3,800
337 6,753 2,500-3,800

 

Reference

Squires, Nick, 2008. Suspicions that Roman artefacts were illegally traded, Daily Telegraph, 16 October.