Subject: Metropolitan Police Art & Antique Crime Course 14- 18th October 2002
Metropolitan Police Art and Antique Crime Course Monday 14th - 18th October 2002 New Scotland Yard London
The Metropolitan Police Art & Antiques Unit will be hosting this five-day course at New Scotland Yard London. This course is aimed at personnel within all branches of Police, Law Enforcement Agencies, Customs and Excise, Museum Security and Industry Professionals. The objective is to provide practical solutions to prevent and detect art crimes. It provides an unprecedented opportunity for the exchange of ideas, information and contacts. It has been carefully constructed to provide delegates with an all round fundamental understanding of the subject.
A copy of the course brochure can be obtained from the Metropolitan Police Art and Antique Unit (+44) 020 7230 2150, or by e-mail from the course directors Kenwood Associates at malcolm.kenwood@btinternet.com
The course fee is £525 plus VAT and includes comprehensive course notes, refreshments, lunch (excluding Friday) and dinner on Monday evening. Discounted London hotel rates have been arranged for delegates booking before 10th September. Malcolm Kenwood Recoveries Director tel: + 44 (0)20 7235 3393 fax: + 44 (0)20 7235 1652 email: malcolm.kenwood@artloss.com website: www.artloss.com
Ancient coins sold in Plaka
Three Plaka jewelers were arrested on Tuesday for selling pieces of jewelry incorporating small ancient coins, police said yesterday. A fourth man was arrested in southern Athens for setting the antiquities into rings, brooches and pendants for sale to tourists. The string of arrests started in Tavros, where police raided a jewelry workshop at 20 Dimokratias Avenue, finding 417 ancient, small- denomination copper coins from Macedonia, most dating to the fourth and third centuries BC, set into various pieces of jewelry. The workshop owner, Ioannis Filippopolitis, was arrested, while police are seeking his partner, Constantinos Bouras. Antiquities discovered in Greece belong to the State, and can only be possessed by licensed collectors or traders. Following the Tavros raid, detectives inspected the premises of several Plaka jewelers, and found a total of 74 coin-adorned jewelry pieces in three shops in the district’s Adrianou Street, one of the capital’s main tourist trails. Shopowners Panayiotis Levendis, Angelos Tzikas and Georgios Foutsis will be charged with the illegal possession and sale of antiquities. http://www.ekathimerini.com/
Thieves steal rare Dickens books from museum
Thieves entered a museum during opening hours and stole Charles Dickens books worth tens of thousands of pound. Three first editions of A Christmas Carol, worth around £20,000 to £30,000 each, were taken from a locked cabinet using a glasscutter at the Dickens House Museum in central London. Attempts to cut glass from a cabinet containing copies of Dickens' Pickwick Papers were unsuccessful. The thieves entered the museum on Thursday August 15, when the museum was open to the public, police said. http://www.ananova.com/
£5m stolen painting found in plastic bag
A painting worth more than £5 million stolen from a country house seven years ago has been found in a plastic carrier bag. Rest on the Flight into Egypt by 16th century Venetian master Titian, was taken from Lord Bath's Longleat Estate in Wiltshire. It was recovered, without a frame but intact, in the London area in a shopping bag after a search led by former Scotland Yard detective and security adviser to the Historic Houses Association Charles Hill. During the investigation a £100,000 reward was offered for information leading to its safe return. Details of the recovery have not been announced due to operational reasons. Measuring 2ft wide and painted on a wooden panel, the picture is one of Titian's most famous and was bought by the 4th Marquess of Bath at auction from Christie's in 1878. It depicts the Virgin Mary cradling Jesus as an infant with Joseph looking on. Longleat's general manager Tim Moore said: "It has been a long and difficult process but we are all extremely pleased that the painting is finally safe." "Mr Hill is the leading expert in his field and he has remained confident throughout that the picture would eventually turn up.
The painting will undergo conservation work before being returned to its country home, but it is not thought to be badly damaged. http://www.ananova.com/ From: IntlArtCop@aol.com
Subject: ISC Technology Report #2
This is the second in my reports on technology we liked at the International Security Conference last week. I attended with Mike Johnson my project associate and Alicia Ramirez-Ricci my staff architect. Remember that we are not affiliated with any product. Videx (www.videx.com) has a line of electronic locks that we liked for use on exhibit cases. The cam lock is the most likely lock to be used. The product line is the Cyber Lock. A programmable battery operated electronic key is programmed to open the lock. When used, a history is stored in the key and can be dumped into the base station. The starter kit costs under $600 for the base, software, a lock and two keys. Cam locks cost $150 each. You can see whose key was used and when.
Museum alarm systems need 24 hours of battery back up. If you have a really good generator and do not have other risks like hurricanes or earthquakes, you may be able to get by with 4 hours of battery back up in some instances. But how do you know if your batteries are running low and don't actually meet the requirement? You probably have a service agreement that requires the contractor to replace batteries but is he doing what you are paying him to do? If you don't have this service included in the service agreement and the contractor tells you you need expensive new batteries, are you getting ripped off by buying batteries you don't really need? ACT Meters Ltd (www.actmeters.com) has an Intelligent Battery Tester. Open th! e battery cabinet, clip the alligator clips on the battery terminals, and read the battery temperature, the voltage, and the amp hour (Ah) rating. Since batteries should be replaced when the amp hour rating falls below 65%, check the chart on the back of the test meter and know immediately if a battery needs to be replaced. Look for the ACT-IBT tester in their product line. Cost about $150 (125 GB pounds). Available in the US through ADI (800) 233-6261. ADI may not sell to you so ask for a nearby dealer who will or call ACT meters direct. We explained to them that ADI won't sell to end users who do not have a low voltage alarm license and this may harm their sales so ACT may sell to you direct if ADI won't.
We are often asked about CAD drafting services. Our CAD people may occasionally take on contract jobs on a moonlight basis so ask if you have a job you need done, but they usually don't have time for these assignments. Clients sometimes need someone to draw their building's plans into CAD, prepare floor plans for computer graphics, update alarm system as builts after they made changes to the original system, etc. We met a young woman based in Atlanta who does contract CAD drafting for clients around the U.S. Note that she is not an engineer, will not design an alarm system for you, and is not a security consultant. She is simply a CAD drafter who uses AutoCAD to produce high quality drawings. Fed Ex your marked up paper drawings to her with detailed instructions. Email any CAD drawings you may already have that need modification. She will do the work and send them back to you. Contact Rembrandt CAD Services, Inc. at remcad@bellsouth.net or visit her at www.rembrandtcadservice.com. Note that we have only seen her workmanship at a trade show and have no knowledge of her personally. Her husband is in the alarm business in the Atlanta area so she had a good idea of what you need if you are updating as builts or converting old hand drawn floor plans into CAD. Remember that we are not suggesting that she is qualified to help you do a self designed alarm, access control or CCTV system and she stressed this to us but many clients do need! to have their buildings converted to CAD or to have as built drawings updated.
From time to time we are asked if there is a pressure mat still available that senses if an object is lifted off or placed on the mat. The mat can be covered with a tablecloth, put on the top of a vitrine and covered with fabric, etc. The mat is still available but has serious limitations such as requiring an object at least 25 pounds in weight. It is wireless and transmits to a receiver. It can be a normally open or normally closed circuit meaning that it can sense something placed on the surface or something removed from the surface. Contact Universal Security Products 800 227-1592 or email usp@ix.netcom.com. Ask about the Super Sentry Sealed Pressure Mat US900 series.
I hope you find this information useful.
By MIKE TONER Atlanta Journal-Constitution Staff Writer
Georgia parks officials are turning to the Internet in an effort to track missing "hot pots" -- a collection of 1,500-year-old Native American artifacts stolen from a South Georgia museum nearly 30 years ago. After years of efforts to solve the state's most notorious archaeological heist, officials have decided to pursue the stolen goods instead of the thieves. By posting "wanted" photos of more than 100 ancient artifacts, they hope a public appeal will help recover the missing pieces. "We're not all that interested in prosecuting the people responsible," said Eric Bentley, superintendent of Kolomoki Mounds State Historic Park in Blakely, where the artifacts once resided. "We just want our pots back, no questions asked. I'd be happy to come to work some morning and find them in a box on our doorstep." Interpol and the international art community have used the Internet successfully for years to help locate stolen artworks and antiquities, but the venture into cyberspace is a first for Georgia officials. It's also an admission that, after 28 years, the trail of the hot pots is so cold, there is little else authorities can do but plead for their return. "We believe they're still out there -- on someone's shelf or for sale in some flea market or artifact show," Bentley says. "But after all these years, they have probably changed hands so many times that the current owners may not even know they were stolen." The missing artifacts listed on the park's Web site -- www.geocities.com/kolomokistatepark -- don't have the dazzle of pre- Colombian gold or Roman marble statuary. But the intricately shaped clay bowls and animal effigies are among the most revered relics of prehistoric Georgia and its inhabitants. When the 129 artifacts were stolen in a 1974 nighttime burglary of Kolomoki's unguarded museum, their street value was estimated at $400,000.
The missing artifacts, everything the museum had on display, constitute at least one-third of all known objects from the Weeden Island culture, mound builders who inhabited North Florida and South Georgia between 300 and 800 A.D. Later mound builders, including those who built Etowah in North Georgia and Ocmulgee near Macon, have been more extensively studied. But recent archaeological excavations at Kolomoki suggest the complex of earthen mounds there mark what may have the largest population center in North America outside Mexico. The distinctive style of Kolomoki's artisans -- the complex patterns of stylistic incising and stippled cuts in clay, along with a penchant for elaborate animal effigies -- has made it harder for them to vanish into the black market. Over the years, a few of the pots have surfaced in unexpected places -- just enough to demonstrate how convoluted the stolen artifact trail can be. In 1978, Georgia and Florida law enforcement officials seized 12 pots at the home of an amateur archaeologist in North Miami. Unaware that they were stolen, the collector had acquired them at a Miami Beach rock and gem show. Police traced the seller as far as Tallahassee, but there the trail went cold. The pots were returned to Kolomoki for safekeeping, but had to be stored in a cell at the Early County Jail until Georgia could build a more secure museum.
In 1979, a Columbus collector identified a Kolomoki pot at an artifact show in Pennsylvania. He bought it and donated it to the museum. No one ever learned how it got to Pennsylvania. In 1996, a Florida taxidermist took pictures of two carefully crafted clay effigies -- a wood duck and a quail in the Weeden Island style -- to the Florida Museum of Natural History for an appraisal. Museum officials identified them and eventually recovered the artifacts from a St. Petersburg collector who got them as a gift from his mother. She had bought them at a Gulfport flea market for $45. The museum's identifying numbers were still painted on the inside of the pots. In all, 16 of the 127 stolen objects have been found and returned to Kolomoki.
"Anything we recover will count as success," says Bentley. http://www.accessatlanta.com/
Sotheby's defends painting
By Peter Goddard Visual Arts Critic
Sotheby's is reacting angrily to media reports questioning the authenticity of the $120 million Rubens painting reportedly bought by David Thomson, the Canadian billionaire art collector. The Massacre of the Innocents, by Peter Paul Rubens, was sold July 10 in London by the venerable auction house. In a news release issued yesterday from New York, Sotheby's claims the work "is a well-documented painting, with an established provenance, going back to circa 1700 and arguably 1699." Sotheby's, the release adds, "consulted the leading Rubens experts for their opinions and not one who saw the painting raised any doubts. On the contrary, they were enthusiastic about the attribution and supported it often publicly. Sotheby's is unaware of any change in the views of the leading experts who supported the attribution at the time." "Some of the bidders at the auction (for the painting) were the leading Old Masters experts in the world," a source close to Sotheby's said yesterday. Questions about the painting's authorship come from other art experts who think it was done by Jan van den Hoecke, who was a disciple of Rubens. The doubters have noted that a pigment used in the work was not one used by Rubens, and that the wood used also ruled out Rubens as the artist. http://www.thestar.com/ From: Richard Unterman umcarubm@pathcom.com
Subject: Symposium on emergency planning
APTI-ICOMOS Canada Symposium.
Toronto is hosting, the first time since 1984, the APT International Annual Conference. (APT) APT is an international organization specializing in the conservation of Cultural resources. This year's theme, Extreme Impacts: Measured Response examines emergency mitigation, planning and conserving heritage buildings and sites. Speakers from around the world will present new technologies, case studies and experiences on some of the worlds most significant heritage sites.
APT offers accredited workshops by the AIA and OAA.
ICOMOS Canada and US ICOMOS Heritage at Risk? International Responses to Fire: Prevention and Retrofit (learning by fire) Fairmont Royal York September 12, 2002 Limited to 100 participants Registration fee: $250.00 CDN, $160.00 US Same day / space available $300.00 CDN, $190.00 US
You can register online at, URL: http://www.apti.org/toronto2002/ Co-ordinator Richard Unterman, ICOMOS Canada Vice-President
ICOMOS Canada presents a one-day symposium on how to prevent or at least reduce loss through proper fire prevention methods for historic buildings. Experts from world heritage sites using case examples from England, Canada and the United States will discuss the impact of fire, smoke and water damage, prevention methods and lessons learned from fire damaged artifacts. Delegates to the 2001 ICOMOS Canada AGM in Halifax and Lunenburg, Nova Scotia met face to face with a catastrophic fire. Lunenburg, a World Heritage Site lost the second oldest church in Canada to a Halloween fire. Three years ago, the unique St Georges in Halifax was also destroyed by fire and has since been rebuilt.
In the last three years two major Nova Scotia landmarks have been lost to fire. How can such tragedies be avoided? Ironically, St John's had recently been retrofitted with a sprinkler system. So what went wrong? This symposium brings together professionals from all sectors of conservation: architects, engineers, conservators building managers, emergency response personnel, building officials and from the private sector fire prevention industry. From: Carolyn Tallent Subject: Article on salvage operations for water damaged archival collections
At long last, the issue of the WAAC Newsletter (May 1997, Vol. 19, No. 2) containing the article by Betty Walsh "Salvage Operations for Water Damaged Archival Collections: A Second Glance" with the "Salvage at a Glance" chart has been reprinted. (This is the 17 x 22 inch chart printed on synthetic paper, designated to be waterproof and stain, oil, grease, UV, and tear resistant.)
Prices are: $10/copy; Orders of 10 or more copies, $8/copy; Orders of 20 or more copies, $5/copy. To order, contact
Chris Stavroudis 1272 North Flores Street Los Angeles 90069-2904 cstavrou@ix.netcom.com
Carolyn Tallent Editor WAAC Newsletter
On the State of the Rescue Measures in the Old Masters Picture Gallery
The catastrophic flood in Saxony has also threatened the art treasures of Dresden. In an unprecedented action, 4000 paintings could be rescued from the Old Masters Picture Gallery within seven hours on 13 August 2002. These works were brought to safety from the underground storerooms by staff members of the Dresden State Art Collections, the fire department, the state criminal bureau of investigation, and helpers from the Ministry of Science and Art of the State of Saxony. Due to a power failure, the freight elevator could not be used. All paintings thus had to be carried by hand into the exhibition galleries on the upper floors of the Gallery's Semper Building adjoining the Baroque Zwinger complex. This rescue action was complicated by the availability of only makeshift lighting and by the rising tide of water from the swollen Weisseritz River seeping into the storerooms through the flooded Zwinger courtyard.
Several works which had been rolled onto large cylindrical drums could on account of their size only be brought into a small, higher- lying adjoining room and placed on tables there. A few other paintings are so large that they could only have been transported by means of the elevator. These large-format works, among them The Rape of Europe by Paolo Veronese (Verona 1528 - Venice 1588) and his workshop, were raised by the staff of the Picture Gallery to hang parallel to and just under the ceiling of the modern, 10-year-old storerooms. It has so far been possible to pump out enough water from the largely flooded underground rooms so as to keep the water from coming into contact with these works. As soon as the water level of the Elbe has sufficiently fallen, they will be removed and treated by the restoration staff.
A foremost priority in the coming days is to stabilize the climatic conditions in the exhibition galleries now serving as storerooms. On Sunday, extra climate control machines provided by the Berlin State Museums and the Bavarian State Picture Collections were put into service, an example of the great support which the Dresden State Art Collections have received in this critical time. Managing Director Dr. Martin Roth summarized the situation as follows: "The Dresden museums have so far been able to rescue the works of art on their own, but in the future we will urgently need help from outside."
The following paintings are at the moment still hanging from the ceiling of the Picture Gallery's storage space:
Paolo Veronese (Verona 1528 - 1588 Venice) with Workshop The Rape of Europe, canvas 321 x 289 cm
Palma Giovane (Venice 1544 - 1628 Venice) The Visit of Henri III of France to Venice, canvas 269 x 480 cm
Sebastiano Conca (Gaeta 1680 - 1764 Naples) The Magi Before Herod, canvas 249 x 464 cm
Francesco Migliori (Venice 1684 - 1734 Venice) Bacchus and Ariadne, canvas 300 x 402 cm The Rape of Europe, canvas 300 x 404 cm
The catastrophic flood in eastern Germany has threatened not only the collections in the Baroque Zwinger and the palaces in Dresden and Pillnitz but also the Albertinum, a building on the banks of the Elbe River housing four museums. Of these, the underground storerooms of the Sculpture Collection and the Modern Masters Picture Gallery have been strongly affected by the dramatic events of the past days, whereas the Green Vault and the Coin Collection have been spared.
The rescue action began at a time when no water was visible within the building. Under unbelievable conditions - for long intervals without any form of electricity and only by means of candle light and pocket flashlights - thousands of works of art were brought to safety in a non-stop action which lasted for 36 hours. The paintings and sculptures threatened by the flood waters had to be carried individually to higher levels, in many cases up winding, narrow stairs: 11,000 objects from the Sculpture Collection - Baroque sculptures, works of ancient art, and historical collections of plaster casts - as well as 650 paintings from the Modern Masters Gallery.
In evacuating the 2500-square meter storerooms we have made a deliberate effort to keep part of the Albertinum free - the Green Vault and many rooms of the Modern Masters Gallery -- so that the building could speedily be re-opened. The rescued works were brought into other exhibition halls, which now serve as makeshift storage space; in the Antiquities Hall thousands of plaster casts of figures, portrait busts, and reliefs now lie on the floor amidst the Egyptian, Greek, and Roman works of art regularly on show. The panoramic view presented, unique in the history of the museum, displays the depth and variety of these precious and unified collections of objects. Though this display of the sculptural works in the Antiquities Hall arose from the emergency rescue measures, the seemingly random proximity of works from antiquity, the Renaissance, the Baroque, and the 19th Century allows the viewer to glimpse the manifold correspondences linking these various periods.
If you wish to donate to the reconstruction effort of the Dresden State Art Collections, please fill out the following credit-card form and leave it at the desk of the Friends of the Saxon Museums at the exit or send it to the Dresden State Art Collections, Generaldirektion, Albertinum, Georg-Treu-Platz 2, D-01067 Dresden. Cash donations will also be gratefully accepted in the Albertinum.
I wish to donate to the Friends of the Saxon Museums (Museis Saxonicis Usui) in the amount of ____________EURO.
Account Name (please print): ___________________________ Visa [ ] Master Card [ ]
Account Number: ________________________________________ Expiration Date (MM/YY): _______________
Klaus Graf wrote:
Die Hochwasserkatastrophe hat vor allem in Sachsen und der Tschechischen Republik Kulturgüter und Geschichtsquellen erheblich in Mitleidenschaft gezogen, vielfach sogar zerstört. In Archiven, Bibliotheken, Museen und anderen Kultureinrichtungen wird schnelle kollegiale Hilfe benötigt.
Für die Archive koordiniert der Verband deutscher Archivarinnen und Archivare (VdA) die Unterstützung. Der Vorsitzende hat sich mit einem Aufruf an die Öffentlichkeit gewandt: http://www.vda.archiv.net/fluthilfe.htm
Einen Eindruck von den Schäden (auch in den Archiven der Tschechischen Republik) vermittelt: http://www.archiv.net
Für die Bibliotheken hat sich der Deutsche Bibliotheksverband (DBV) des Themas angenommen: http://www.bibliotheksverband.de/
Spendenkonto des DBV Berliner Volksbank Bankleitzahl 100 900 00 Konto: 541 2670 002 Stichwort: "Flut"
Im Museumsbereich wird der Deutsche Museumsbund tätig: http://www.museumsbund.de/ Eine Presseschau zu Schäden an Kulturgütern bot die Mailingliste H-MUSEUM: http://h-net.msu.edu/cgi-bin/logbrowse.pl?trx=vx&list=h-museum&month=0208&week=c&msg=7tYTFOu3OdpRB2W7w4GGPg&user=&pw=
Weitere aktuelle Hinweise enthält das bibliothekarische Weblog Netbib: http://log.netbib.de
Klaus Graf
From: "Thomas Schuler" Schlossbergmuseum@t-online.de
Subject: Flut in Sachsen
Sehr geehrte Damen und Herren,
Der Sächsische Museumsbund hat seit Freitag eine Initiative gestartet "Partner nach der Flut", deren Koordinator ich bin. Mehr dazu: http://www.schlossbergmuseum.de/smb/flut.html#Idee Die Staatlichen Kunstsammlungen Dresden organisieren die Hilfe sinnvollerweise unter sich, daher gilt alles im folgenden gesagte nicht für dieses starke Flaggschiff, sondern für die über 300 anderen sächsischen Museen.
Wir haben uns einen kompletten Überblick über die geschädigten Museen verschafft:
- 17 Museen durch die Erzgebirgsflüsse - 7 Museen + Staatliche Kunstsammlungen Dresden durch das Elbhochwasser.
Unsere Zwischenbilanz
http://www.schlossbergmuseum.de/smb/flut.html#Bilanz und die Museumsliste http://www.schlossbergmuseum.de/smb/flut.html#Liste sind seit Sonntag tagesaktuell im Internet abrufbar.
Gleichzeitig haben wir ein Netz von "Partnern nach der Flut" geknüpft. Jedes der geschädigten Museen, das die Probleme nicht aus eigener Kraft lösen konnte, erhielt ein bis drei sächsische Museen als Partner. Diese Partnerschaften sind ebenfalls im Internet publiziert: http://www.schlossbergmuseum.de/smb/flut.html#Partner
Da 90% der sächsischen Museen nicht von der Flut betroffen waren und unser Konzept großen Anklang fand, konnten wir alle Probleme bei der Ersthilfe rasch lösen. Die Ersthilfe zur Erzgebirgsflut ist weitgehend abgeschlossen, die zum Elbhochwasser in vollem Gang. Derzeit liegen mir keine neuen Wünsche nach Ersthilfe mehr vor.
Nun geht es also an die schwierigere zweite Phase, das Aufarbeiten der Objektschäden, die Sanierung der Gebäude, das Ersetzen der gefluteten Ausstattung und Haustechnik und das Verbessern des Hochwasserschutzes und der Evakuierungsmöglichkeiten. Um all den vielen, die in den letzten Tage aus ganz Deutschland schon ihre Hilfe für diese langwierigen und teuren Maßnahmen angeboten haben, die Nöte unserer Museen transparent zu machen, habe ich eine fein strukturierte Liste der Bitten um Hilfe erarbeitet: http://www.schlossbergmuseum.de/smb/flut.html#Hilfen
Wir würden uns also sehr freuen, wenn diese Bitten aufgegriffen werden könnten. Allerdings bitten wir auch um Geduld, denn nach dem Kraftakt der ersten Tage und Wochen nach der Flut kann es nicht mehr in diesem Tempo weitergehen. Auch Ersatzbeschaffungen sollten mit Bedacht entschieden werden, dann lassen sich Kosten sparen oder sinnvollere Lösungen finden.
Mit freundlichen Grüßen
Thomas Schuler Sächsischer Museumsbund
From: "Axel Plathe" a.plathe@unesco.org
Dear colleagues,
the archaeologist Alastair Millar (now in Prague) gives an description of the recent situation in Archaeological Institute in Prague. In his report he mentions emergency needs and contact persons for help as well.
Best regards
Rainer Atzbach Chair for medieval and postmedieval Archaeology University of Bamberg, Germany
------------------------
Description of the recent situation in Archaeological Institute in Prague
Alastair Millar
Dear colleagues,
I was able to visit the Institute of Archaeology in Prague yesterday, and must say that what I saw was far worse than I had imagined. All (and I do mean all) of the staff are presently engaged in salvaging what they can from the wreckage manually.
The entire ground floor of the Institute was submerged under 3m of water - for those that know the building, the water line runs just below the line of the ceiling vaults in the entrance... The ground floor housed storage space, the conservation department, part of the physical anthropology department and the post room, amongst other things.
In terms of actual damage:
* Of the 70,000 works in the Institute library stack, it is estimated that only 600 have survived. The card index, although waterlogged, has survived, and it is planned to scan surviving cards into a digital format before they disintegrate.
* Damage to collections stored at the Institute is difficult at this stage to quantify. It will be extensive. Moreover, a great deal of unprocessed finds material has lost its context (and even site) information - the consequences of which I am sure we all understand only to clearly.
* The physical anthropology department alone, which was engaged in DNA work, has lost equipment to the value of some 600,000 Crowns (20,000 USD/EUR), including a laminate box and hepafilter.
* Despite initial misgivings, it seems that the Institute's photographic archives have for the most part survived intact, albeit that some negatives will require cleaning. I have had enquiries off- list asking for Martin Gojda's private e-mail address, but Martin tells me that he never uses one and asks those wishing to contact him to be patient and wait for the Institute's own e-mail to be back in service.
* The Institute's geophysical survey equipment has also survived, having been removed in time. Roman Krivanek can be contacted at home on krivanci@volny.cz mailto:krivanci@volny.cz (this is also the home mail address for Dana Adelsbergerova-Krivankova).
* It is estimated that physical repairs to the Institute building itself will cost over 2 Million Crowns (over 65,000 USD/EUR).
* One telephone line into the building is´apparently now (intermittently) working, but frankly I would not recommend that anyone call. The building is still without power.
Note for comparative purposes: the average monthly wage in the Czech Rep. is around 10,000 Crowns (340 USD/EUR).
Many people have asked me what they can do to help, and I would like to thank them for their concern - I shall continue to collate all such e-mails that I receive and pass them on to the Institute in due course.
In terms of the specific help which is DESPERATELY needed:
* The Institute has frozen many works so that they can be conserved later. The Institute is in dire need of somewhere to store these (at present they are reliant on the generosity of frozen foods companies etc. - a generosity which cannot be expected to last forever).
* SUBSTANTIAL assistance will be required in the conservation and treatment of printed volumes, site plans and documentation - the Institute is (by both law and practice) the hub of archaeological work in Bohemia, and site plans in particular are utterly irreplaceable. Assistance in the form of technical aid, materials, expertise and no doubt manpower would all be appreciated.
* As the leading archaeological research institution in the Czech Republic, the loss of the library is a cruel blow. Clearly we would like to see the library recreated, and to that end donations of books, reference material, runs of periodicals etc. in future would be much appreciated.
* Obviously, the Institute would also welcome financial contributions - it is unlikely in the extreme that the state and / or Academy and the insurance companies will be able to fund all of the repairs, replacements, removals and conservation necessary.
Those able and willing to offer specific assistance should contact the Institute's deputy director, Natasha Venclova on her mobile phone number: +420.724.039243 (In view of her workload at present, PLEASE do not +call simply to offer sympathy at this stage).
Roman Grabolle and Raimund Karl have already kindly pointed out that the first pictures from the Institute are online at: http://www.archaeologie-online.de/cgi-bin/gforum/gforum.cgi?post=1239 6 (Diskussionsforum: Archäologie in der Diskussion: Aktuelle Themen: Aufruf: Hilfe für das Prager Archäologische Institut!).
Alastair Millar, BSc(Hons) Consultancy and translation for the heritage industry Hornicka 1736, CZ 413 01 Roudnice, Czech Rep. alastair@iol.cz | millar@iol.cz | alastairmillar@yahoo.co.uk
From: "Rainer Atzbach" Subject: Opfer der Flut in Tschechien Date: Tue, 20 Aug 2002 12:10:27 +0200
Dear colleagues and friends,
On 14th August 2002, the Vltava river flooded the Institute of Archaeology in Prague up to 3 metres high. The Institute´s library was practically destroyed - representing, with its 70,000 volumes, the largest archaeological library in the Czech Republic until now,together with the photographical and geodetical archives andlaboratories.
Therefore we are forced to seek support and help concerning the salvage and restoration of the damaged funds and collections, so important for the whole archaeological community in the Czech Republic and beyond. Most welcome would be collaboration concerning restoration of books and other materials (defreezing and drying ), donation ofpublications etc.
Institute of Archaeology Academy of Sciences of the Czech Republic Letenská 4 CZ-11801 Praha 1 tel. +4202 57533782, fax +420257532288
Please contact us by postal mail, phone or via Roman_Grabolle@gmx.de
ATTENTION: E-mail arupraha@arup.cas.cz, and web pages www.arup.cas.cz - NOW OFF LINE!
The Art Newspaper.com
This week's top stories:
BUDDHISM’S “DEAD SEA SCROLLS” FOR SALE TO NORWAY
LONDON. Thousands of ancient manuscripts smuggled out of Afghanistan are now likely to be sold. Known as “Buddhism’s Dead Sea Scrolls”, they belong to Martin Schøyen, a Norwegian businessman who is regarded as the world’s greatest 20th-century collector of manuscripts. His library includes important examples from virtually every major civilisation around the world. Mr Schøyen, aged 60, now wishes to sell his entire collection to a public institution for £70 million in order to raise money for his human rights and development aid charity. http://www.theartnewspaper.com/news/article.asp?idart=9912
DEATH OF CHILLIDA, A TITAN OF AN ARTIST
SAN SEBASTIAN. On the night of his death, 19 August, perhaps the sculptor Eduardo Chillida recalled his favourite motto: “Reason tells me that reason is limited; whereas reason tells me that death is limitless”. This was a characteristic method of turning the emphasis around that he used when discussing his sculpture. http://www.theartnewspaper.com/news/article.asp?idart=9911
BAMIYAN BUDDHA NICHES “AT RISK”
BASEL. The niches which once housed the Buddhas of Bamiyan will be “gone within a decade” unless urgent conservation work is undertaken, according to Paul Bucherer, director of the Afghanistan museum in exile in Switzerland. http://www.theartnewspaper.com/news/article.asp?idart=9910
CHRISTIE’S SHOWS GREATER PULL WITH THE PRIVATE OWNERS
GENEVA. In 2001, Christie’s, Sotheby’s and Phillips saw a reduction in their sales of jewellery from a total of $374 million to $328 million, due in part to the same fluctuations affecting overall sales, in part to specialist factors. http://www.theartnewspaper.com/news/article.asp?idart=9909
TAGGING YOUR TREASURES
PARIS. Researchers have been trying to find an incontestable way of identifying any work of art, generally a mark which would be unique to that painting. The main difficulty is that works of art cannot be permanently marked without damaging them. http://www.theartnewspaper.com/news/article.asp?idart=9908
THE RICH RHEINLAND NOW HAS A K20 AND A K21
BERLIN. Of all the German Länder, Nordrhein-Westphalia (NRW) is one of the few that seems immune to financial crises, and which still has money to invest in culture. K21, the extension to the Kunstsammlung NRW, previously located in the central Grabbeplatz in Düsseldorf, has been completely financed by NRW, and has an acquisitions budget of €1.5 million per year. The new museum, which opened in April, is a little way from the centre and has already received more than 70,000 visitors. http://www.theartnewspaper.com/news/article.asp?idart=9907