Assuming that what I think may be the case is true, that the BMA Assistant Building Superintendent of 1951 (age 35) and Mr. Egrette of 1986 (age 71) are the same person, I suspect that what drove him to take the Renoir off exhibition after hours on the evening of Friday, November 16, 1951, was the same urge that drove him to steal the Coptic votive from the Walters a few weeks earlier. It is that powerful feeling of connection to people of the past through the objects they created and touched. Dominique de Menil and Peg Goldberg understood that feeling, and so do I. And add to that, for the painting there was the magic of identification, of the BMA superintendent with Renoir and Marcia with his mistress. This is the stuff of compounded infatuation. Perhaps this was a surprise gift for Christmas in 1951: A work of art with both a message and a secret that would bind the two for more than sixty years.
Afterword
Fanatical iconoclasm in the manner of the Islamic State is nothing new. The Byzantines of the 8th and 9th centuries were very good at it, and were ruthless as well. Not only did they systematically destroy thousands of sacred images; they tortured and killed scores of icon painters. Ironically, the mosaics in the Church of Panagia Kanakaria survived Byzantium’s Iconoclastic Controversy because Cyprus was then under joint sovereignty with of the Umayyad Caliphate.
The destruction of cultural treasures in Mosul (ancient Nineveh) and Palmyra at the hands of ISIS in the spring and summer of 2015, as seen worldwide on television, was accompanied by the beheading of Khaled al-Asaad, the archaeologist overseeing the ancient site of Palmyra. The horror and frustration that followed intensified the debate between museum professionals and archaeologists over how best to deal with antiquities looted from regions in military conflict. The prevailing view, promoted by the archeological community, is that America’s best response is to exclude at our borders all cultural property thought to originate from those troubled regions. This, plus the recent tightening of the AAMD’s acquisition policies and the UN’s resolution banning trade in Syrian antiquities since the start of the civil war, has constricted the flow of significant artworks from Syria westward to just a trickle. The contrast with the massive outflow of major Christian works—icons, frescoes, and mosaics—from northern Cyprus in the wake of the Turkish invasion of 1974 is striking.
But imagine what would have happened had this hard line prevailed in the ’80s. What would have been the outcome had Dominique de Menil known, when her medieval curator showed her the Petsopoulos photographs of Lysi, that there was no chance those frescoes would clear US Customs? I can envision two scenarios, and neither ends well. Archaeologists might wish to believe that the frescoes would never have been ripped from the walls of the Lysi church in the first place and would have survived to this day. But I doubt it. With the forced evacuation of the ethnically Greek Christians from the north in the later ’70s, their ancient churches were abandoned to the mercy of local Muslim populations that were hostile, not simply indifferent, to their survival. And they were especially hostile toward sacred Christian images. I suspect the result in this scenario would have been the eventual destruction of the frescoes, perhaps not for financial gain, but as a result of local, individual acts of religiously motivated vandalism.
The other scenario would suppose that European import laws would not be as strict as those of the US and that the Lysi fresco fragments would have ended up in Dikmen’s Munich apartment anyway, even with American buyers out of the game. In that case, I’m certain they would have been dispersed to private collectors all over the world. The Lysi frescoes would then effectively remain out of the public eye in perpetuity and unavailable to scholars. Thanks to Dominique de Menil and the more flexible rules of that day, the Lysi frescoes were made whole again and studied, exhibited, and eventually returned. They are now proudly displayed in the Byzantine Art Museum in Nicosia where thousands of Cypriots are able to enjoy “their” frescos, still hoping that someday they may be reinstalled in the Lysi church.
To be clear: We were not in the right place in the ’80s when it came to dealing with looted art from war zones. But then, we’re not in the right place now, either. The pendulum has simply swung too far, and we have lost sight of the fate of the works themselves and of the greater public good. The cradle of civilization is our shared cultural heritage, and in times of extraordinary risk, we should not shrink from dealing with bad guys—today’s Dikmens—to save this artistic patrimony for the sake of everyone around the globe and for our descendants. This calls for greater nuance, imagination, and courage than I’m now seeing.
It is true that despite the 1970 UNESCO Convention, CPAC, and the more proscriptive AAMD guidelines, Byzantine antiquities from northern Syria of the sort Henry Walters acquired in Paris and the Blisses bought in Beirut decades ago, were still being actively traded before the rise of ISIS. It is also true that the most abundant Byzantine antiquities in that region are in the Massif calcaire, with its magnificent Shine of Saint Simeon Stylites, an area that has remained outside ISIS control. This means that current looters may have no relationship whatsoever with ISIS. So why, then, apply a blanket restriction on these works at our borders, forcing them back onto the black market or into the hands of players within the cynical and brutal Assad regime—or of ISIS fanatics? Why not, in the manner of Dominique de Menil, instead provide them safe harbor with the clear and explicit intention of repatriation once the region returns to stability? This is not an easy thing, for sure. But it’s the right thing.
Index
A
AAMD. See Association of Art Museum Directors
Abbey Church of Saint-Germain-de Prés, 266
Ackland Museum of Art, 189
Adams, Henry, 10, 11, 18, 65
Adler, Saidie, 274
Adoration of the Magi (Strozzi), 199
Aesthetic evangelism, 253
Affair Mezzatesta, 187–189
African Art and Motion (audience engagement), 100
African Zion: The Sacred Art of Ethiopia, 167
idea, initiation, 168
international incident, 182
Ethiopian Ambassador perspective, 179
members preview, cancellation, 181–182
Paulos tour, 174
congeniality, loss, 179–180
protests, 177
sacred books, lending (avoidance), 169
success, 184–185
Agapia Monastery, visit, 28
Age of Spirituality, The exhibition (Weitzmann organization), 36
al-Asaad, Khaled, 281
Alderman, Juli, 269
Alexidze, Zaza, 214–215, 219
Alina/Puiu
apartment entry, 23
description, 22
American Embassy, press conference (problems/hostility), 221
Anderson, Max, 190
Andre, Jay, 8
Annunciation (van Eyck), 11
Antioch Chalice, 101
Araìdjis (beachcombers), 39
Arc of the Covenant, claim, 167
Ariadne Galleries, 134
Art 101: Ancient to Medieval, 9
Art Blooms, 196
Art exhibitions, tool kit (usage), 16
Art Institute of Chicago, 256
Art, role (sense), 8–9
Asatiani, Valeri, 219
Associate for Byzantine Art Studies, 58, 65
Association of Art Museum Directors (AAMD)
acquisition guidelines/policies, 246–247, 267, 281
guidelines, adoption (1970), 268
Object Registry, 270
representation, 248
Atlantic Arts Partners, 270–271
Autocephalous Greek-Orthodox Church of Cyprus (plaintiff), 128
B
Baltimore Evening Sun, 195
Baltimore Magazine, 189
Baltimore Museum of Art (BMA), 274
collection, loan, 277–278
going free, announcement, 259
involvement, 258–259
Baltimore Sun, The, 187–188, 19
7, 237, 241, 258
Bar-Am, Micha, 240
Bartgis, Greg, 118–119
confession, 122
mental disorders, 124
theft, 121–122
process, 124–125
woodshop access, 120
Bausch and Lomb Science Prize, winning, 8–9
Bemidji Regional Airport, 82
Ben Ezra Geniza documents, 235
Ben Ezra Synagogue, 234–236
examination, 237
public showing, 239–240
sale, agreement, 239
Bergman, Bob, 93, 112, 196
Cleveland, relocation, 172
defensiveness/combativeness, 117
replacement, 188
Bergman, Edward, 178–179, 182
Bergman, Marcie, 196
Bernini, Gian Lorenzo, 199
Beta Analytic Services, 234
Big Fuad. See Fuad
Binbirkilise, 79, 84
Bishop, Clarence, 258–259
Black Entertainment Television, Paulos coverage, 173
Bliss collection, Sabean art (relationship), 91
Bliss, Mildred, 31, 33, 59, 66
Bliss, Robert, 31, 66
Blue Angel, The (Sternberg), 37
BMA. See Baltimore Museum of Art
Boating Party (Renoir), 279
Bolger, Doreen, 251, 259
Bolivia, request review, 246–249
Bonampak frescoes, discovery, 269
Boulanger, Nadia, 58
Bourne, John, 269, 271
Boyd, Susan, 51–52, 63
conservation laboratory research, 72–73
Brand, Charles, 252
Brenson, Michael, 104
Brinkema, Leonie, 277
British Museum, Saint Peter name (absence), 73–74
Bronfman, Samuel, 236
Brooklyn Museum, 56
Brown, Carter, 99
contact, 102
Brownell, Jr., Herbert, 84, 86–87
Brummer, Joseph, 262
Bucharest Romanians, cynicism, 27
Bucovina
description, 27
trip, cancellation, 26
Bunyan, Paul, 204, 205
Byzance après Byzance, 19
Byzantine Art Museum, 282
Byzantine bronzes
de Menil purchase, 45
examination, 44–45
Byzantine gold key, examination, 38–39
Byzantine icon, presentation (problems), 109
Byzantine silver, Zacos purchase, 42–43
Byzantium (spiritual identity), icons (importance), 66
C
“Cabinet of Wonders,” 252, 257–258
Cairo Geniza, 235
Calder, Alexander, 37
Camp David Accord, 236
Carleton College, attendance, 8–9
Carter, Jimmy, 170
Catalogue of the Sculpture in the Dumbarton Oaks Collection (writing), 36
Catholic University, 59
Ceauşescu, Nicolae, 20, 21, 250
“Center for the Arts of the Ancient Americas,” 270
Chagall, Marc, 136–137
“Chartres, the Jeweled City, and the Heart of a 13th Century Peasant” (paper), 9–10
Chasing Aphrodite (Felch/Frammalino), 139
Chatzidakis, Manolis, 69, 75, 129
Saint Peter icon purchase, 158–159
Chilashvili, Levan, 219
Christie’s
icon sales, 71
representation, 248
Christ the Wisdom of God, 103, 104
Church at Auvers (van Gogh), 253
Church of Notre Dame, 262
Church of Panagia Kanakaria, Maheriotis message, 143
Church of Panagia Kanakaria mosaics
fragments, looting, 159–160
Munich location, 159
return, 128
sale, 68
survival, 281
Church of Saint Euphemianos, 87
fresco restoration, 95
Church of Saint Martin
altar, examination, 265–266, 269
reliquary, theft, 262
Church of Saint Prokopios, Saint Peter theft, 75
Cleveland Museum of Art, 85, 188, 196
Clinton, Bill, 208–209, 230
Cloak of Lorenzo (Hunt), 199
Cohen, Mark, 235, 242
Cohen, Sue, 251
Colivă (food), offering, 28
Communism, absurdity, 21–22
Connoisseur (magazine), 79
Constable, Giles, 58, 60, 64, 89
embarrassment, 90
Kitzinger problem, 61
money, commitment, 71–72
relationship, worsening, 90–91
Stanley/Vikan meeting, 86–87
Constantinople
destruction, 233
Fall of Constantinople, 19, 152
imperial workshop, gold key production, 40
manuscript origin, 108
topics, examination, 33
Contemporary Museum (Baltimore), 199
Coptic devotional plaque, 275
Coptic sculpture, examination, 54–55
Corcoran Gallery, 200
Covington & Burling, 86–88
Criminality, theme, 42, 43
Cultural Property Advisory Committee (CPAC), 245, 261, 268
focus, 247
meetings, 246
resignation, 250
Cultural Property Implementation Act, intent, 247–248
Cummings, Elijah, 186
Cypriot antiquities, purchase, 89
Cypriot families, Turkish troop abuse, 89
Cypriot mosaic head, discovery, 85, 88
D
Daguerre, Henri, 263–264
Dalai Lama, 36
Daphni (Byzantine church), 102
Davezac, Bertrand, 87, 96
Petsopoulos photographs, 97
Dayton Art Institute, 256
Dead cat bounce, 183, 186
Dealer opportunism scenario, 147–148
de Chirico, Giorgio, 41
de Clari, Robert, 233
Deësis, 67
de Laroussilhe, Brimo, 263–265
de Menil, Dominique, 34–35, 245, 270
bronzes, collection, 64
contact, 36–37, 77
estate, arrival, 37–38
impact, 162
interaction, 41–42
Leventis complaints, 90
de Menil, John, 38
Demirjian, Torkom, 134
Dikmen, Aydin, 137–138, 262
asking purchase price, 143–144
Cypriot knowledge, impact, 153
Faulk visit, 148
immunity, 164
Kanakaria mosaic fragments
inventory, reduction, 157
replenishment, 155–156
Lysi fresco lies, 155
Doamna Gal, 22
corruption, 24
Dove of the Holy Spirit, 263
Doystoyevsky, Fyodor, 23
Due diligence, 246, 270
Duke University Museum of Art, 188–190
Dumbarton Oaks Concerto (Stravinsky), 58
Dumbarton Oaks Papers (Kitzinger paper), 58–59
Dumbarton Oaks Research Library and Collection (DO)
career exit, 90
fakes, entry, 53
jewelry, Ross catalogue (examination), 39–40
Mission Statement, 59
scholarly work, 31
sculpture, catalogue (writing opportunity), 32–33
Spring Symposium, 153
usage, 32
Dumbarton Oaks Spring Symposium, Kitzinger (presence), 60
E
Edmister, Duncan, 183
Egrette, R. (name, investigation), 275–276, 279–280
Elbern, Victor, 57, 62
Elgin Marbles, return, 245
El Greco, 107
Emerson, Joe, 142
cross-examination, 146, 147
Emmerich, André
deposition, 132–134
free market belief, 133
Emory University (Medieval Mania speech), 203
Enoch Pratt Free Library, 255
Ernst, Max, 37, 41
Ethiopian art, Knopfelmacher sale, 185
Ethiopian Orthodox, diaspora, 169
Ethiopia, sacred art (history), 167–168
Euphronios Krater, 268
Evans, Helen, 209
Evriviades, Marios, 89, 142
cross-examination, 146
Press Officer, role, 157
Expert witness
official letter of appointment, 130
request, 129–130
F
Fakes, determination/ability, 53
danger, 47
Fall of Constantinople, 19, 152
Faulk, Ronald, 136, 137
fee, 138
sale agreement, 148
Felch, Jason, 139
Feldman, George, 143
FIAE. See Foundation for International Arts and Education
Fitzgerald, Robert (Bob Jones), 136, 143, 145
scheme, 148
“Flea-Market Renoir,” 273
Fosston High School, 6–7
Foundation for International Arts and Education (FIAE), 208, 209, 219, 230
Fouquet, Marcia Mae, 276
Fourth Crusade, 233
Frammalino, Ralph, 139
French Revolution, 265
Frenzel III, Otto “Nick,” 136–138
cash backing, 148
civil court expense, 161
Fresco. See Lysi fresco
Frick Collection, 91
Friedlaender, Max, 57
Friedlander, Ezra, 143
From Ingres to Gauguin exhibition, 274
Fuad (Big Fuad), Munich meeting, 84–85, 88
Fuqua, Marcia May, 276–277
Fuqua, Matt, 277, 279
G
Gamsakhurdia, Zviad, 212
Gates of Mystery: The Art of Holy Russia (icon show), 107–108
Ge’ez, language (preservation), 167