The newspaper and a table cloth: Yakup Eksioglu, Scott Carroll and some Green papyri?

Mr Yakup Eksioglu, who according to information circulated by Mike Holmes is the source of the Green Sappho and many other papyri in that collection, has recently commented on two of Brent Nongbri’s posts concerning the newest-new Sappho news. The Turkish gentleman asks if we are interested in knowing the provence of the Sappho fragments (of course we are!) and denies that there are shady aspects in the history of those papyri (scroll down the comments here and here).

Since he is in the mood of speaking, I’d like to hear what he has eventually to say about some other papyri that I think also come from him and perhaps are with Mr Green.

In early November 2009 Scott Carroll announced on his public Facebook account that he was going to travel soon to Istanbul and Jerusalem for some shopping. These are indeed two most interesting cities for antiquities hunters. The first is the main location of Mr Eksioglu’s business, as he explained in his old website, mixantik.com, that you can still visit through archive.org. (The email is the same he is using now in case you wish to contact him, which I would not recommend on the basis of my own experience). In Jerusalem there is another famous emporium, Baidun Antiquities, that according to Mike Holmes/Museum of the Bible official statements sold to Hobby Lobby two of the fragments stolen from the Egypt Exploration Society collection.

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Screenshot of the website of Mixantik as captured by the internet archive in November 2009

But let us go back to Scott Carroll’s Facebook account. Although it has now sadly disappeared, a number of us have visited it in the past while it was public and created archives of the enlightening lectures in papyrology and other disciplines Carroll delivered in the course of the years to his social media audience. On 30 November 2009 he flooded his followers with ca. 80 images of antiquities he acquired or saw during the above mentioned shopping spree for the Green and I believe other collections too (including his own). One of the images shows some papyrus fragments on a white table cloth which seems exactly the same as the one appearing in images posted by Eksioglu/Mixantik/ebuyerrrr in his Yasasgroup incarnation, as you can see in the two figures below.

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Fig.1: Picture downloaded from Scott Carroll’s public Facebook page, originally posted on 30 November 2009

 

ebuyerrrrr Mixantic Photobucket 2

Fig. 2: Image from Yasasgroup photobucket, for background see also Paul Barford’s old blog post: http://paul-barford.blogspot.com/2012/11/turkish-seller-offers-erdfrische-papyri.html

Some days later, however, Carroll posted again a picture of the same fragments of Fig. 1, in a different arrangement:

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As you can see, the same papyri appearing in Fig. 1 are here ordered in a slightly dissimilar way. Interestingly they are lying this time on the pages of a national Egyptian newspaper. How did that newspaper and papyri arrive to Turkey and where are they now?

My interpretation would be that these were papyri fresh from the ground (as it seems from the soil still visible), excavated or obtained illegally somewhere in Egypt, wrapped up in the newspaper, and then sent to Turkey (a notorious transit-country) where they were offered for sale to irresponsible dealers/middlemen disguised as ‘academics’ like Scott Carroll and his companions.

Does Mr Eksioglu or anyone else have a better explanation?

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I thank Lynda Albertson of ARCA for cross-checking notes and images with me.

I have written on Mr Eksioglu, without mentioning his name now revealed by the Green/MOTB through Holmes, in my article ‘The Green papyri and the Museum of the Bible.’ In Jill Hicks-Keeton and Cavan Concannon (eds.), The Museum of the Bible: A Critical Introduction, 171-205. Lanham; Boulder; New York; London: Lexington Books/Fortress Academics.

 

 

 

Letter to Brill on the Museum of the Bible’s Dead Sea Scrolls Fragments: A Positive Outcome

In 2016 Brill published the edition of thirteen Dead Sea Scrolls fragments as part of their series dedicated to the Museum of the Bible collections (Dead Sea Scrolls Fragments in the Museum Collection, Publications of Museum of the Bible, Volume 1). Since its appearance, the volume raised serious concerns because nothing was said about the chain of ownership through which the fragments arrived in Washington D.C. in 2009-2010. In the autumn of 2018, the Museum itself had to admit that according to scientific and philological analysis at least five of the manuscripts in question were in fact modern forgeries. After the announcement, a group of academics wrote an open letter to Brill, asking for higher standards in documenting provenance and authenticity in their publications. As recently argued by archaeologists Dennis Mizzi and Jodi Magness in a very important article (published in a Brill journal), forgeries are more often than not connected with undocumented provenance, and academics must always deal first with acquisition circumstances and collection history, and later eventually address the issue of authenticity.

The letter was subscribed by over 100 academics and endorsed by the Board of Directors of the Society for Classical Studies. Brill’s reaction was immediate and positive. As a result of constructive conversations led by Brill brilliant Loes Schouten and Suzanne Mekking, I am pleased to report that Brill has decided to add a specific paragraph about provenance and authenticity in its Publication Ethics document, available on line: https://brill.com/fileasset/downloads_static/static_publishingbooks_publicationethics.pdf. This binds authors to follow the policies of international academic associations in relevant fields (e.g., ASOR, AIA, SBL and SCS).

The integration of a section on these issues is a crucial step forward. It will tie anyone working with the publisher in question, from authors to editorial boards, to current professional policies. As Brill is the publisher of major journals and volumes in our fields – including classics, biblical studies, archaeology and many more – in terms of quality and quantity, their initiative can really make a difference. Hopefully their document will lead the way, and other publishers will also adopt similar measures.

News on the Newest Sappho Fragments: Back to Christie’s Salerooms

 

Last Thursday, The Guardian published a riveting report of the ongoing papyri crisis. Charlotte Higgins has written a compelling and remarkably clear piece, finding her way through the intricacy of the events. From my point of view, the most interesting part is the revelation that my colleague Mike Sampson will soon publish an article about a Christie’s private-treaty sale brochure that an anonymous academic source passed to him. As Mike has kindly shown me some of his material in advance, I went back to a conversation I entertained with Christie’s from 28 November 2014 to 15 January 2015. In the light of what has now emerged, in my opinion this conversation opens further questions and doubts on the newest Sappho provenance narratives, and more broadly on the mysterious ways in which ancient manuscripts move on the market.

But before delving into this epistolary, it is necessary to recap a number of facts, including some that Higgins had no space to discuss in her article but which are crucial for the points I wish to make here. As my readers know, I came to the Green mess in early 2014 not because of the Christian papyri, but indeed because of the newest Sappho fragments: P.Sapph.Obbink (in anonymous hands) and P.GC. inv. 105 (in Oklahoma City, with Hobby Lobby). However, I was soon intrigued by the whole Green endeavour, and one of their papyri, in particular, captured my attention: a small Coptic fragment with lines from the letter of Paul to Galatians, GC MS 462. As I will show in the following, this papyrus story interweaves with that of the Sappho fragments so intimately that if one forgets it, there’s the risk to miss the level of misinformation and deception disseminated (voluntarily or not) in the course of these years.

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The Galatians 2 Coptic fragment when advertised on eBay

Let us start from the beginning. In February 2014 we were informed of the existence of the newest Sappho fragments without being provided any firm detail and clear evidence about their provenance. Most of us were completely unaware that since 2009 an American millionaire was hunting through the manuscripts market for the joy of dealers and some academics too. As I became intrigued by this multifarious crowd, the following April I went to visit the Green exhibit, Verbum Domini II, at Vatican City where I spotted our Galatians Coptic papyrus and immediately realised that it was the same fragment that in October-November 2012 was offered on sale through a Turkish eBay account called MixAntik. At that time, MixAntik was operating in violation of Turkish law for the export of antiquities and never provided any documented provenance for that or any other fragment sold in the course of the years. I asked David Trobisch, the newly appointed director of the Green collection, some questions on the papyrus origin: did the Green buy Galatians on eBay? His answer was that he was new to the job and the Green files were in such state that he was unable to provide any information at that stage.

The first big turn in the Sappho and Galatians provenance tale happened the following autumn of 2014. Right before a session on issues of provenance organized by the Society of Biblical Literature at the Annual Meeting of San Diego, I was timely informed by Trobisch (my respondent at that panel) that the Green Sappho and Paul Galatians fragments came all from a lot sold at auction by Christie’s London in November 2011 (I duly reported this after the conference in this blog post). Dirk Obbink – Trobisch added – would have provided full details on the recovery of the Sappho fragments in a forthcoming paper to be read at a conference the following January. Right back from San Diego I started a conversation with Christie’s (28 November is the date of my first email), as I was completing an article on all these and other matters (later published in the Bulletin of the American Society of Papyrologists), and wanted to have my facts straight.

January 2015 came, and Obbink’s paper was not only read to the Annual Meeting of the Society for Classical Studies, but also disseminated online (it is still available from here). The key section about the Sappho provenance was this:

“As reported and documented by the London owner of the ‘Brothers’ and Kypris Poems’ fragment, all of the fragments were recovered from a fragment of papyrus cartonnage formerly in the collection of David M. Robinson and subsequently bequeathed to the Library of the University of Mississippi. The Library later de-accessioned it in order to purchase Faulkner materials. It was one of two pieces flat inside a sub-folder (folder ‘E3’) inside a main folder (labelled ‘Papyri Fragments; Gk’), one of 59 packets of papyri fragments sold at auction at Christie’s in London in November 2011.”

Then the article placed the papyri in question in the Arsinoite, furnished some bibliography and also the name of the Cairo dealer who sold papyri to Robinson in 1954, Sultan Maguid Sameda. As for the Green fragments, the author explained:

“A group of twenty-some smaller fragments extracted from this piece, being not easily identified or re-joined, were deemed insignificant and so traded independently on the London market by the owner, and made their way from the same source into the Green Collection in Oklahoma City.” 

The paper was later published in the form of an academic article (“Interim notes on ‘Two New Poems of Sappho’”, ZPE 194 (2015), 1–8) and the story repeated more or less in the same way in an interview to Live Science. (For more details on later sometimes conflicting versions, check out Brent Nongbri’s blog, and Uhlig and Sampson’s recent article for Eidolon).

Most believed the narrative, but for me it remained still problematic because neither the author nor the owners provided any solid document to support the purported collection history. On top of this, the Green Galatians fragment had been said to have the same provenance too. I had difficulties believing that someone had bought a lot of papyri at Christie’s in 2011 with a potentially good provenance, found a fragment from a letter of Paul and then a year later offered it on sale not through Christie’s or any other main auction house or dealer but rather through a most bizarre eBay account. Moreover, MixAntik never mentioned a Christie’s auction–why not? It would have provided plausible provenance. In a story full of morons like this one, random silly behaviour is always a possibility. Still, I wonder…

Anyway, after Christmas holidays and some reminders, on January 10, 2015 Donadoni finally sent me the following information about both Sappho and Paul: 

“These were part of a large collection of cartonnage fragments – they weren’t individual papyri whose texts could be identified. As Dr Obbink explained yesterday [Obbink read his paper at the conference on the 9 January], the Sappho fragments were recovered from cartonnage that we sold in 2011 – ie [sic] layers upon layers of recycled strips of papyrus glued together to be used as book bindings or mummy coverings. Some of these strips may have had text on them – often legal texts, shopping lists, or receipts of little value. But the only way to recover them and to identify the texts that aren’t immediately visible is to soak them in a warm water solution and chisel away at the layers. You will understand that when we receive such consignments, we sell them as they are, and identify what we can: we do not and cannot have the capabilities to dissolve other people’s property in the off-chance we may discover something of note.”

To this I answered asking if Christie’s had pictures of the cartonnage as it was when consigned for the auction. On January 13, Donadoni explained: “There are no further images beyond what is already shown in the 2011 catalogue.”

As many know, first and foremost the poor Green crowd (they are martyrs in this respect, I assure you), I can drive people crazy with my stubborn questions. In fact when I insisted again asking how the hell was Christie’s sure that these fragments came from that lot since they only saw layers of compressed papyri, a rightly exasperated and mad at me Donadoni concluded (14 January 2015): 

”I am sorry if I have not been clear. I’ll try to be as concise as possible: I confirm that we are not simply relying on the word of the collector. The provenance is as stated. There is no doubt that the specific pieces came from the cartonnage that we sold in 2011, there is clear evidence to that effect. They were not identified at the time because they needed recovering (and thus dissolving in a warm-water solution) or piecing together from a myriad of tiny fragments.”

But now that we have seen the private sale dossier, I would ask Christie’s: What is the ‘clear evidence’ that they had but that nobody else was able to see? Is it perhaps the layered papyri cartonnage, which is reproduced in the pdf brochure? Did they take that picture in house? That picture, in particular, seems at odds with their repeated statement that there was no other image besides the one in the catalogue: Is there a simple explanation I am unable to understand? This is all very confusing, you would agree. I find interesting that according to Sampson’s metadata analysis, Christie’s brochure in its current version was pulled together roughly between 13 January and 26 February 2015 – more or less while I was entertaining these email conversations with Donadoni – using a version created before, in 2013. As Higgins reports too, the date of the Sappho ‘cartonnage’ digital shot is instead 14 February 2012, seven days after Scott Carroll had already shown the Green Sappho fragments in their shiny glass frame at one event in Atlanta, as documented in a video (https://brentnongbri.com/2018/12/13/the-green-collection-sappho-papyrus-some-new-details/). Is anyone able to explain how this happened?

In the Green quarters, however, details of the provenance story of their Sappho and Galatians fragments were destined to change dramatically. In the summer of 2017, on the wake of the Iraqi tablets scandal, the Coptic Galatians papyrus was again under the spotlight, and in a much more problematic way for the Green. The year before, I had discovered by pure chance the identity of the man behind MixAntik (morphed into ebuyerrrr in the meanwhile), reported it to eBay and the police since he was still selling unprovenanced papyri, and received unpleasant threats as a result later on; meanwhile the investigations of Candida Moss and Joel Baden, reported in their book and magazine articles, demonstrated that there had been many more Green acquisitions from Turkey and Turkish sellers, with meetings in Istanbul and London too. In short, it turned out that a certain number of the Green papyri came from MixAntik aka ebuyerrrr and close sources (for more details, see my chapter in The Museum of the Bible: A Critical Introduction. Fortress Academic).

On 20 July 2017 The Times informed that Egypt had started an investigation on the whereabouts of the Coptic Galatians fragment; asked for comments, Trobisch still referred to the trusted dealer and the Christie’s auction story. But the following autumn, that story evaporated. On November 17, 2017 The Chronicle of Higher Education posed a similar question on Galatians to the newly appointed director of the Green Scholars Initiative, Mike Holmes:

“It was bought from a dealer in good faith, and the dealer provided certain information,” says Holmes. “That information turned out to be incorrect.” Whether that dealer purchased the fragment from eBay is still unknown, according to Holmes. As a result, he says, it won’t be seen in the museum.

To my knowledge, Christie’s has never commented on this incredible turn of the story: How do they explain all this? Were they also said something that they just believed? Perhaps the Green trusted dealer was the buyer of the famous 2011 lot 1 and Donadoni had no reason to doubt their word? Who knows? I confess I feel lost.

 Anyway, if Paul and Sappho go together – as I thought at the time – then the provenance of the Green Sappho fragments should also be under revision, but when I asked the Green (i.e., Trobisch, Holmes, and also Jeff Kloha), the answer always was that documents were insufficient or lacking at the Hobby Lobby archives. To be thorough, in our last email exchange of last July, David Trobisch wrote me something notably different, that is: ‘I’m surprised to hear that you think the Sappho fragment came from the same auction as the Coptic Galatians fragment.’ In total dismay, I reminded him that he officially said that in many occasions, including to The Times. Was he possibly ironic? I never received an answer back. Bless him. On the contrary, I always received answers from my lovely friend Mike Holmes, a Green man I trust, and his last words on their Sappho fragments last summer were:

“It has not been possible to identify the seller of the Sappho fragment[s] at this point due to the lack of consistent record keeping and vague invoices in the early years of the collection. The Sappho fragment is not listed as a specific item on any invoice in museum records”

And here we are, my friends, stuck in between a flood of missing paperwork and the secrecy of Christie’s and the antiquities market sales, which are protected by current laws: privacy and non-disclosure are perfectly legal. What will happen now? Who knows…! The Greenery has started an internal cleaning exercise, the outcomes of which are, however, still unpredictable and controlled by a platoon of lawyers; on the other hand, we don’t know anything (yet) about the owner or owners of the largest Sappho fragment and their thoughts on this mess. I think they must be nervous as they paid a fortune (around £ 800,000 is the guess of a Guardian informed source) for a lovely manuscript (the case in the Christie’s brochure though, ma che brutta and a bit vulgar! I hope they found a new one), which however turned out to have a provenance background with some grey areas. As a result, the market price must have definitely lowered down in the meanwhile. In case the grey areas will turn into black, I think that a private settlement with the auction house and the sellers will be eventually looked for and the insurance will step in. The papyrus will disappear and nothing about it and the settlement will ever reach us, average citizens and real co-owners of the Sappho fragments, because current legislation protects the privacy of these types of “discreet” (i.e., secret) agreements. In other words, current legislation protects wealthy anonymous collectors, even wealthier auction houses like Christie’s, and the throng of experts working with them. Certainly that legislation does not help fostering a cultural environment in which ancient manuscripts are studied and protected by academics, dealers and collectors with higher ethical standards than those this story has brought to light.

 

 

 

A New Article on Palaeographic Dating of Codices

Variant Readings

The latest issue of Journal for the Study of the New Testament contains a group of articles that emerged from an SBL session in 2015 arranged by Roberta Mazza on problems of dating ancient manuscripts. In addition to Roberta’s introductory essay, which discusses some of her work on the Rylands collection, there are articles by Malcolm Choat (“Dating Papyri: Familiarity, Instinct and Guesswork”) and by the Ancient Ink Laboratory at Columbia University and New York University (“Dating Ancient Egyptian Papyri through Raman Spectroscopy: Concept and Application to the Fragments of the Gospel of Jesus’ Wife and the Gospel of John”).

My own contribution is “Palaeographic Analysis of Codices from the Early Christian Period: A Point of Method.” Here is the abstract:

It is often said that palaeographic analysis of Greek literary manuscripts from the Roman era has progressed from an aesthetic judgment to more of a science, thanks largely to…

View original post 148 more words

Carroll&McDowell circus has gone to Russia

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Image freely available to access and download at http://spbcu.ru/en/scripctoriom-with-scott-carroll/optimized-img_1235/

My favourite duo, Scott Carroll and Josh McDowell, is still around; this time, they went to Russia pretending as usual to be manuscript experts. Incredible as it may seem, there are people happy to join their show. The Larsons are still gifting Torah scrolls to Christian colleges, in Russia too, in order to save money on their tax-returns, etc. etc. In short, the circus is flourishing, despite the fiasco with the Green family and their Museum.

I do not understand how it is possible for the duo to be free to deliver their performances after what we have learnt. Perhaps I just have to accept that culture, integrity and  world cultural heritage protection are not political or police enforcement priorities, unless terrorism and war are openly involved, as in that case they produce good cash in terms of media exposure and electoral votes. But the circle of exploitation, looting and violence in order to obtain papyri, cartonnage and other Egyptian antiquities starts with irresponsible collectors, including these two tricksters, buying unprovenanced and possibly/probably illegal and forged material.

Please do not pay the ticket for the Carroll&McDowell circus and do not expose your students to it.

Seminar: Correspondence, Provenance, and the Ethics of Collecting, 6 March 2019

Come along, next week at the University of Manchester!

Lives of Letters

Please join us for our second seminar of the semester, featuring two twenty-minute presentations and discussion. All welcome!

Correspondence, Provenance, and the Ethics of Collecting
Wednesday 6th March 2019, 3-4:30pm
A112 Samuel Alexander Building

Ethical challenges in early Twentieth Century Samaritan Manuscript Collecting
Dr Katharina E Keim (Centre for Religions and Theology, Lund University, and Centre for Jewish Studies, Manchester)

Historically, the collecting of Samaritan manuscripts was a challenging endeavour. The Samaritans, who regard themselves to be descendants of ancient Biblical Israelites, were for centuries a relatively insular group that closely guarded their traditions from outsiders. Western scholars and orientalists began acquiring Samaritan manuscripts in the sixteenth and seventeenth centuries, when the Samaritan Pentateuch played an important role in debates between Protestant and Catholic biblical textual critics. Samaritan manuscripts arrived in Europe in fits and starts until the late nineteenth and early twentieth century when the trickle became a flood…

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Open letter to Brill: Fake and unprovenanced manuscripts

For the attention of Brill.

FAKE AND UNPROVENANCED MANUSCRIPTS

On 22 October 2018, the Museum of the Bible issued a press release informing the public that five of their recently acquired fragments that were claimed to come from the Dead Sea Scrolls are modern forgeries. These five forgeries are included in the first volume of the series ‘Publications of Museum of the Bible’ which was published by Brill in 2016.

This volume has received sustained criticism from members of the academic community because it failed to provide information about the acquisition circumstances and collection history of the thirteen fragments it presented. In the introduction, the editor in chief stated only that they were acquired “on behalf of Mister Steven Green in four lots from four private collectors” adding the dates of purchase (November 2009, February 2010, May 2010, October 2014). Questions about the authenticity of all thirteen fragments were raised by many specialists, including one of the co-authors of the volume, and are still waiting to be fully answered.

This is merely the latest in a series of cases in which academics’ concerns about the provenance and authenticity of manuscripts have been ignored, despite the fact that most scholarly associations (e.g. ASOR, SBL, SCS, AIA and ASP) have policies and guidelines on these matters. It is clear that there were sustained serious flaws not only in terms of ethical collecting standards and museum best-practice, as the owners of the fragments have acknowledged, but also in publication good practices. As a group of specialists involved in the study of ancient manuscripts we ask Brill to clarify their position. Why did Brill allow the fragments to be published without proper discussion of their provenance, when one co-author had doubts about their authenticity?

This episode again demonstrates the urgent need for publishers as well as academics to exercise due diligence, through their peer reviewers, in checking that publications of antiquities, including ancient texts, acquired recently on the market give a full and annotated discussion of the acquisition and provenance history. We strongly suggest that Brill and other publishers treat this as seriously as they do copyright, and in their instructions to authors and contracts include a clause requiring the author or authors to be responsible for providing a full and proper explanation of the provenance and legitimacy of such recent acquisitions.

We look forward to hearing from you.

Roberta Mazza (University of Manchester), Roger Bagnall (ISAW, New York University), Dominic Rathbone (King’s College London), Christopher Rollston (George Washington University), Årstein Justnes (University of Agder), Paul Schubert (University of Geneva), Andrea Jördens (University of Heidelberg), Rodney Ast (University of Heidelberg), Amin Benaissa (University of Oxford), Todd Hickey (University of California, Berkeley), Bernhard Palme (University of Vienna), Jennifer Knust (Duke University), Brent Nongbri (Macquarie University), Malcolm Choat (Macquarie University), Caroline Schroeder (University of the Pacific), Philip Alexander (University of Manchester), Luigi Prada (University of Oxford), Jennifer Cromwell (Manchester Metropolitan University), Sofia Torallas Tovar (University of Chicago), Michael Langlois (University of Strasbourg), Nikolaos Gonis (University College London), Graham Claytor (Hunter College, CUNY)

UPDATE 7 NOVEMBER 2018:

  1. This open letter has been now endorsed by The Board of Directors of the Society for Classical Studies besides colleagues listed below.
  2. This morning Jasmine Lange (Chief Publishing Officer, Brill) sent us the following answer:

In response to your Open Letter, Brill would like to express that we are aware of the ongoing discussion about forged fragments of the Dead Sea Scrolls, as announced by the Museum of the Bible in its press release on 22 October 2018.

The forged fragments were included in the first volume of the Publications of Museum of the Bible (Brill 2016). The issue of the authenticity of fragments of the Dead Sea Scrolls was recently addressed by Kipp Davis, one of the editors of this volume, in Brill’s academic journal, Dead Sea Discoveries (‘Nine Dubious ‘Dead Sea Scrolls’, fragments from the Twenty-First Century.’, https://doi.org/10.1163/15685179-12341428).

The role of Brill, as with all other academic publishers, is to facilitate the peer review process in order to ensure that publications meet the required academic criteria. In order to safeguard the originality and quality of our publications, each and every work is subject to peer review. In addition, we receive advice from multiple senior scholars in the appropriate field. As a member of Committee on Publication Ethics (COPE), we take our responsibility as academic publisher very seriously.

Brill and its editorial boards work in good faith and with integrity to further the advancement of scholarship. Given the highly specialized nature of many of our publications, Brill relies upon the judgment and expert advice of its editorial boards. Provenance has always been and remains a difficult and contentious issue with museum collections around the world, both public and private. We always aim at improving our processes and policies and we welcome you to have a discussion about formulating additional policies related to provenance and associated topics that promote integrity and strengthen the interests of the academic community.

List of signatures to the Open Letter:

  1. Tim Whitmarsh (University of Cambridge)
  2. Sabine R. Huebner (University of Basel)
  3. Jodi Magness (University of North Carolina at Chapel Hill)
  4. AnneMarie Luijendijk (Princeton University)
  5. Arthur Verhoogt (University of Michigan)
  6. Jennifer Sheridan Moss (Wayne State University)
  7. Ann Ellis Hanson (Yale University)
  8. Dorothy J. Thompson (University of Cambridge)
  9. Serafina Cuomo (Durham University)
  10. Glenn W. Most (Scuola Normale Superiore of Pisa and University of Chicago)
  11. Jean-Michel Carrié (EHESS Paris)
  12. Marco Fressura (Roma Tre University)
  13. Candida Moss (University of Birmingham)
  14. Chris Mowatt (University of Sheffield)
  15. Peter J. Miller (University of Winnipeg)
  16. Antonia Sarri (University of Manchester)
  17. Maria Pretzler (Swansea University)
  18. Jeffrey Henderson (Boston University)
  19. Elton Barker (Open University)
  20. Brendan Haug (University of Michigan)
  21. Andrea Rodighiero (University of Verona)
  22. Usama Gad (Ain Shams University)
  23. Livia Capponi (University of Pavia)
  24. Arietta Papaconstantinou (University of Reading)
  25. James J. O’Donnell (Arizona State University)
  26. David J. Thomas (Durham University)
  27. James Keenan (Loyola University, Chicago)
  28. Andrew Connor   (Monash University)
  29. Martina Astrid Rodda (University of Oxford)
  30. André Hurst (University of Geneva)
  31. Stefanie Schmidt (University of Basel)
  32. Silvia Strassi (University of Padua)
  33. Marek Dospěl (Independent Scholar)
  34. Robert Parker (University of Oxford)
  35. Benjamin Overcash (Macquarie University)
  36. Thomas A. Wayment (Brigham Young University)
  37. Benjamin Fortson (University of Michigan)
  38. Malcolm Heath (University of Leeds)
  39. Elsa Garcia Novo (Complutense University of Madrid)
  40. José Luis Alonso (University of Zurich)
  41. Jennifer A. Baird (Birkbeck College, University of London)
  42. Paola Davoli (University of Salento, Lecce)
  43. Dimitri Nakassis (University of Colorado Boulder)
  44. Mike Simpson (University of Manitoba)
  45. Melissa Harl Sellew (University of Minnesota)
  46. Jim West (Ming Hua Theological College)
  47. Deborah Chatr Aryamontri (Montclair State University)
  48. Alba de Frutos García (Complutense University of Madrid)
  49. Mark de Kreij (University of Oxford and Radboud Universiteit Nijmegen)
  50. Myrto Malouta (Ionian University, Corfu)
  51. Irene Soto Marín (University of Basel)
  52. Jakub Urbanik (University of Warsaw)
  53. Franziska Naether (Leipzig University/Stellenbosch University)
  54. Paul McKenna (Independent Scholar)
  55. Jennifer E. Gates-Foster (University of North Carolina at Chapel Hill)
  56. Matt Gibbs (University of Winnipeg)
  57. Joseph D. Reed (Brown University)
  58. Judith Peller Hallett (University of Maryland)
  59. Paul Kelly (University College London)
  60. Jonathan Davies (Maynooth University)
  61. Jona Lendering (Independent Scholar)
  62. Csaba La’da (University of Kent)
  63. Monica Tsuneishi (University of Michigan)
  64. Katherine Blouin (University of Toronto)
  65. Marie Legendre (University of Edinburgh)
  66. Alberto Nodar Domínguez (Pompeu Fabra University, Barcelona)
  67. Annette Yoshiko Reed (New York University)
  68. Micaela Langellotti (University of Newcastle)
  69. Rebecca Krawiec (Canisius College, Buffalo NY)
  70. Thomas Bolin (St. Norbert College)
  71. Francesca Gazzano (University of Genova)
  72. Christine Luckritz Marquis (Union Presbyterian Seminary)
  73. Tim Luckritz Marquis (Moravian Theological Seminary)
  74. Samuel J. Huskey (University of Oklahoma)
  75. Rick Bonnie (University of Helsinki)
  76. Massimo Giuseppetti (Roma Tre University)
  77. Tommy Wassermann (Örebro School of Theology)
  78. Peter Head (Wycliffe Hall, Oxford)
  79. Andrew T. Wilburn (Oberlin College)
  80. Iain Gardner (University of Sydney)
  81. Rachel Yuen-Collingridge (Macquarie University)
  82. Pauline Ripat (University of Winnipeg)
  83. Christos Tsirogiannis (University of Aarhus)
  84. Cavan Concannon (University of Southern California)
  85. Jill Hicks-Keeton(University of Oklahoma)
  86. Paola Ceccarelli (University College London)
  87. John Prag (University of Manchester)
  88. April Pudsey (Manchester Metropolitan University)
  89. Gregory Given (Harvard University)
  90. Chance Bonar (Harvard University)
  91. Monica Park (Vanderbilt University)
  92. Federico Morelli (University of Vienna)
  93. John Bodel (Brown University)
  94. Yvette Hunt (The University of Queensland)
  95. John Marincola (Florida State University)
  96. Charles E. Hill (Reformed Theological Seminar)
  97. Olga Budaragina (St Petersburg State University)
  98. Richard Adam (City Lit London)
  99. Charles E. Jones (Penn State University).
  100. Shani Tzoref (University of Potsdam)
  101. Christelle Fischer-Bovet (UCS, Los Angeles)
  102. Adrian Kelly (University of Oxford)
  103. Renate Dekker (University of Leiden)
  104. Joel Baden (Yale University)
  105. Sarah E. Bond (University of Iowa)
  106. Jutta Jokiranta (University of Helsinki)
  107. Matthew Goff (Florida State University)
  108. David Langslow (University of Manchester)
  109. Elvira Martín-Contreras (CSIC, Spain)
  110. Laura Gawlinski (Loyola University Chicago)
  111. Luke Drake (University of North Carolina at Chapel Hill)
  112. Mario Capasso (University of Salento, Lecce)
  113. Natascia Pellé (University of Salento, Lecce)
  114. Rachel Mairs (University of Reading)
  115. Annalisa Marzano (University of Reading)
  116. Ulrike Roth (University of Edinburgh)
  117. Daniel Delattre (CNRS-IRHT, Paris)
  118. Aleksander Engeskaug (SOAS, London)
  119. Yannis Tzifopoulos (Aristotle University of Thessaloniki)
  120. Melissa Funke (University of Winnipeg)
  121. Daniel L. Schwartz (Texas A&M University)
  122. John S. Kloppenborg (University of Toronto)
  123. Jorunn Økland (University of Oslo and The Norwegian Institute at Athens)
  124. Donald Mastronarde (University of California, Berkeley)
  125. John Serrati (University of Ottawa)
  126. Anna S. Uhlig (University of California, Davis)
  127. Antonio Stramaglia (Università di Bari)
  128. John Serrati (University of Ottawa)
  129. Giuseppe Ucciardello (University of Messina)
  130. Terry G. Wilfong (University of Michigan)
  131. Joseph Manning (Yale University)
  132. Rafael Moreno González (Pontificia Universidad Católica del Perú)
  133. Matthias Stern (University of Basel)
  134. Mohamed Gaber Elmaghrabi (Alexandria University)
  135. Robert Kraft (University of Pennsylvania)
  136. Terry G. Wilfong (University of Michigan)
  137. Daniel Stökl Ben Ezra (EPHE, PSL)
  138. Georgia Xekalaki (Archaeology & Arts / Egyptian Cultural Center Athens)
  139. Jonathan Stökl (King’s College London)
  140. Katharina Keim, Lund University & University of Manchester
  141. Regine May (University of Leeds)
  142. Dan Batovici (University of Leuven)
  143. Ada Nifosi (University of Kent)
  144. Juan Chapa (University of Navarra)
  145. Margriet Haagsma (University of Alberta)
  146. Uri Yiftach (Tel Aviv University)
  147. Kim Ryholt (University of Copenhagen)
  148. Nahum Cohen (Achva Academic College, Israel)
  149. C.J. Hinke (Thammasat University, Bangkok)
  150. Elena Esposito (Università degli Studi della Basilicata)
  151. So Miyagawa (Georg-August-Universität Göttingen)

 

 

Christmas Papyri Bonanza at Bonhams

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Christmas is approaching so London auction houses are getting ready to provide the wealthy with adequate opportunities to buy gifts. At the end of this month Bonhams is auctioning a number of papyri. There are two of them that are particularly dear to me. They are listed as Lot 205: in case you are a responsible collector, please buy and gift them to a public (in the sense of State funded and controlled) museum or university, or at least provide a contact to access the texts to the papyrology community.

The lot looks exactly the same as one sold by Sotheby’s New York in 2003 (lot 94, as recalled in the catalogue): it gathers P.Oxy. 10 1256 and 1265. These two papyri were part of a small papyrus collection which ended up in the United States as a result of the Egypt Exploration Fund/Egypt Exploration Society distribution policy of the early 20th century (they come from Grenfell and Hunt campaigns at Oxyrhynchus). They were given to Colgate Rochester Crozer Divinity School, but were later dispersed through a Sotheby’s sale in 2003. The sale in question ignored academic and museum guidelines about responsible de-accessioning of antiquities and manuscripts. The School also disregarded the aims and spirit of the Egypt Exploration Society’s distributions that were a means to provide institutions with ancient objects for teaching, exhibit and education activities, and not a means to make up budgets.

Three years ago I wrote an article about this interesting but disturbing story, which involves also a papyrus now in the Museum of the Bible (P.Oxy. 15 1780 = P39, fragment of the Gospel of John), arguing that any change of ownership is a threat to the preservation and availability of antiquities for future study and research.

From 2003 to 2018 these two papyri went lost to both the academic community and the public because nobody knew the identity of the buyer, covered by auction house sale agreements and laws; they have now re-emerged to be most probably gone again in the dark at the end of the month. It is time to revise how antiquities are sold on the legal market, in particular through auctions.

A similar history  is also shared by the other two Oxyrhynchus papyri on sale as lot 207, held in the British Charterhouse collection until when they were auctioned at Sotheby’s in 2002. One of the two papyri is a piece everyone of us use for teaching: P. Oxy. 3 475, a report on the death of an eight-years-old slave boy who fell out of a window during a public festival.

Dove comprare papiri antichi in greco e demotico? Al Museo del Papiro di Siracusa

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Avviso di vendita dei papiri postato nel sito del Museo, screenshot

Questa mattina mi sono alzata e ho avuto notizie dall’Italia. Il Museo del Papiro di Siracusa ha messo in vendita venti papiri della sua collezione, apparentemente tutti inediti, greci e demotici. La notizia e’ apparsa in forma di pubblicita’ sulla pagina Facebook del mio collega Luigi Prada. Abbiamo pensato a uno scherzo, ma sia la pagina Facebook che il sito del museo riportano la stessa notizia.

La direttrice del museo, Anna Di Natale, ha risposto in questi termini a una mia richiesta di informazioni mandata attraverso la PAPY-list (la mailing list dei papirologi): “Il Museo del Papiro ha deciso di mettere in vendita alcuni papiri della propria collezione per reperire risorse per realizzare altri progetti.”

Quali siano questi progetti non e’ per ora dato a sapere. La provenienza della collezione viene definita “accertata” (senza altri dettagli) e l’acquisto risalente a dieci anni fa.

Come si legge nel sito, il museo del papiro di Siracusa e’ un’istituzione privata fondata e gestita dall’Istituto Internazionale del Papiro, nato nel 1987 per opera di Corrado Basile e Anna Di Natale, attuale direttrice. Una grande importanza e’ riservata alla didattica rivolta agli studenti: mi chiedo che tipo di messaggio il museo pensi di trasmettere alle nuove generazioni, vendendo manoscritti antichi di cui il museo medesimo dovrebbe infatti essere custode. Il museo e’ spesso sede di convegni scientifici di Egittologia e Papirologia organizzati dall’Istituto Italiano per la Civiltà Egizia. Mi domando cosa pensino i membri di questo istituto della vendita.

L’episodio non e’ certo isolato; tra gli ultimi casi, ricordo la vendita di alcuni papiri della collezione Bodmer al collezionista americano Steve Green (Museum of the Bible), e la vendita ad almeno tre collezionisti privati di alcuni papiri da Ossirinco da parte del Bade’ Museum of Archaeology di Berkeley (in questo caso un paradosso visto che uno dei papiri in questione era un famoso testimone del Vangelo di Giovanni…).

Certo un museo del papiro che vende i suoi papiri rende la vicenda particolarmente surreale.

Silencing the Naiads: Why the Manchester Art Gallery’s performance is not making a favour to women

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Hylas and the Nymphs, Waterhouse (1896), Manchester Art Gallery Public Domain

In Greek and Roman mythology, the Naiads are interesting, unsettling characters. They presided over water and lived in proximity of ponds, fountains and rivers. Similarly to the element they controlled, their nature was fluid and sometimes overwhelming. Naiads could be very dangerous maidens, as some ancient young men learnt. Take for instance the nymph Salmacis. As we read in Ovid, she fell in love with Hermaphroditus, the son of Hermes and Aphrodite: the boy tried to resist her, but ended up raped in the water. As a result of Salmacis’ prayers, the two were transformed into one intersexual being. And what about the fate of Hylas who, mesmerised by the Naiads, disappeared and never went back to his companions, the Argonauts?

As it has often happened to powerful and unsettling women in the course of history, the Naiads have been silenced in the occasion of a performance, which took place about one week ago here in Manchester. As part of a forthcoming exhibit of Sonia Boyce, the artist and the exhibit’s curator, Clare Gannaway, have decided to remove the painting Hylas and the Nymphs of J.W. Waterhouse from the Gallery, and asked visitors to intervene on “tricky issues about gender, race and representation” by posting opinions on the empty wall .

Unsurprisingly, the event has sparked polemics, since the painting is a very loved ones (even postcards were taken away from the Gallery’s shop), and the topic is hot after the #metoo campaign and the appalling facts that injected it. So yesterday I visited the City Art Gallery, as many other times since I moved to Manchester. As required (I am a good and engaged citizen), I left my message, which you can download: Art Gallery Comment. In front of that wall I felt uncomfortable and sad, as a classicist and as a feminist woman. (There is a lot to be said about race too, but I will leave this to another post.)

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Before starting explaining why I am uncomfortable, allow me to comment briefly on the installation’s lack of aesthetics, considering the mess and the poorly written intention sign displayed on the wall. I do not know what is wrong with curators’ tastes these days, it must have to do with government’s cuts I guess (?): professionals in art galleries seem unable to use decent materials, fonts, etc. This is not the first time I have noticed the trend. Anyway, never mind.

Let us move to discussing the uncomfortable classicist. The study of Classics is under attack in this as other countries: to those in charge of education policies, it seems an irrelevant subject, useless in terms of job skills and employability. While statistics actually contradict this view – but numbers are tricky and I don’t want to go there – there are good reasons for criticizing the way Classics has developed as a discipline deeply rooted in colonialism and cultural elitism, especially in the context of the very classist British society and its education system. Nonetheless, as recent studies have brought to light and some new ways of practicing Classics show, it is a discipline that nowadays gives space, sometimes with hesitation, to multiple voices in terms of identities, methodologies and topics. Our contemporary culture is deeply entangled with antiquity and eventually the problem is not the content of Classics, but rather the way that content has been used, misused and manipulated in the course of centuries.

In fact this performance is a great example of how Classics has been misconceived, erased and neglected to the point that the curator and the artist seem completely unaware of the semiotic of the painting, otherwise I am sure they would have chosen another one among the many others displaying eroticised young female bodies in that room.

A Guardian’s commentator has defined the painting as ‘semi-pornographic’. But what does ‘pornographic’ even mean, considering how female, male and intersex bodies have been reproduced and objectified in the course of art history? One can only view this painting as pornography if completely unaware of the semiotics of displaying beautiful naked body in art history. Moreover, isn’t it the role of art to make the viewers uncomfortable, having unexpected reactions, and thinking about them? Curatorial tastes and practices as those behind this installation seem to me more Victorian than those of the Victorians they pretend to criticise. How can you have a meaningful and informed debate on displaying gender without knowing the historical development of producing and displaying gender in art?

I am moving now to the woman who feels offended by this superficial cultural operation. Women have been oppressed, beaten, raped, unpaid or underpaid for their work, and discriminated in other various manners. In the course of history, women have also found different modalities to negotiate their way through family, work, basically life survival: they have played the game according to rules which were imposed by men, and I believe that some inversion myths like the one of Hylas and the Naiads, in which females are controlling if not raping men, tell us a lot about the violent terms of that negotiation. Men felt uncomfortable in front of women’s body and beauty, and interpreted these problematic, threatening feelings as the result of a female power that if unleashed could lead men to lose their minds (very contemporary, I know: that’s why Classics matters). Should women forget all this past just because we now want to be appreciated as persons with many more skills than just beautiful and powerful bodies? I do not think so: I do want that story to be remembered and understood for its multiple meanings and for the oppressive social structures it has contributed to produce and reproduce.

I do not want the Naiads to be silenced. I want a society inhabited by citizens of any gender able to deconstruct the long history of a myth and its representation in art that enlighten the strained, violent relationship between women and men in the course of centuries, including our very present. In particular, I want strong women, proud to have survived that past (yes: we are all survivors as recent horrible facts constantly remind us) and ready for our turn to be in power, and hopefully change the way power has been exercised so far. In fact new Naiads are here, they are taking over, and nobody will be able to silence them again.