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CYCLADIC SOCIETY

5000 YEARS AGO

ATHENS 2016
The catalogue is issued in conjunction with the exhibition Cycladic Society 5000
years ago, organized by the Museum of Cycladic Art in collaboration with the
Hellenic Ministry of Culture and Sports and with the contribution of the Ephorate
of Antiquities of the Cyclades.

Back cover All rights reserved. No part of this book, texts or photographs, may be reproduced
"Cymatolege" or transmitted in any form or by any means without the explicit permission in
© Petros Koublis writing of the authors, the lending Institutes and the editors.

ISBN Copyright
978-618-5060-20-6 2016 Museum of Cycladic Art - Hellenic Ministry of Culture and Sports

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EXHIBITION

Curatorship and Museographic Project


Prof. Nicholaοs Chr. Stampolidis
Cooperation: Ioulia G. Lourentzatou

Architectural Design
GR405-ARIS ZAMBIKOS
Project Manager: Ioanna Mougkasi

Conservation - Mounting of Objects


Giannis Damigos
Kostas Pantazis

Translation
Maria Xanthopoulou

Visual Identity
Bend

CATALOGUE

Scientific Editor
Prof. Nicholaοs Chr. Stampolidis
Cooperation: Ioulia G. Lourentzatou

Scientific co-Editors
Ephorate of Antiquities of Cyclades
Dr. Anastasia Angelopoulou
Irini Legaki

Translation
Maria Xanthopoulou

Design
Bend

Printed by
Lyhnia SA

Organizing Committee
Prof. Nicholaοs Chr. Stampolidis
Dr. Demetrios Athanasoulis
Dr. Maria Lagogianni
Dr. Eleni Banou

ORGANIZATION CONTRIBUTION

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© PHOTOGRAPHY CREDITS OF CATALOGUE

© Ministry of Culture and Sports, Archaeological Receipts Fund

National Archaeological Museum: cat. nos. 6 - 7, 19, 30 - 31, 36 - 39, 42 -


44, 68, 110, 118, 147 - 148, 166, 169 - 170, 180 (Irini Miari), 4, 23, 32, 109,
137, (Photography Archive), 149 (Giannis Patrikianos).

© Ministry of Culture and Sports, Ephorate of Antiquities of Athens


Paul and Alexandra Canellopoulos Museum: cat. nos. 22, 41, 87, 92, 138
and p. 7 (Irini Miari).

© Ministry of Culture and Sports, Ephorate of Antiquities of the Cyclades


Naxos Archaeological Museum: cat. nos. 1, 25, 27, 35, 48, 56, 70, 72 - 73,
78 - 79, 81 - 82, 103 - 106, 117, 127 - 129, 131, 134, 140 - 142, 151 - 154,
156, 158 - 159, 162 - 165, 172 - 175, 177, 179, 181 - 183, 185 - 186, 188
(Mavroeidis Mavroeidopoulos) and cat. nos I, III (p. 124-125).
Syros Archaeological Museum: cat. nos. 9 - 10, 15 - 18, 28 - 29, 34, 40, 45,
52 - 55, 67, 74 - 75, 86, 111 - 112, 119, 125, 130, 133, 136, 139, 143, 145 - 146
(Irini Miari).
Apeiranthos Archaeological Collection: cat. nos. 14, 33, 50 - 51, 62, 69,
115, 135, 157, 167, 171, 189 (Mavroeidis Mavroeidopoulos).
Paros Archaeological Museum: cat. nos. 26, 60, 71, 132, 168
(Irini Miari).

© Museum of Cycladic Art: cat. nos. 2, 5, 21, 63, 76, 80, 90 - 91, 96 - 97,
99 - 100, 107, 113 - 114, 120 - 121, 123, 150, 160 - 161, 176, 184, 191 and
p. 141, 197, 205 (George Fafalis), 3, 8, 11 - 13, 20, 46 - 47, 49, 57 - 59, 61,
64 - 65, 77, 83 - 85, 88 - 89, 93 - 95, 98, 101 - 102, 108, 116, 122, 124, 144,
155, 178, 190, cat. nos II, IV (p. 124-125) and p. 131, 213 (Irini Miari).

© Petros Koublis: p. 2-3 / “Nemertes”, p. 126-127 / “Pherusa”,


p. 223-224 / “Telesto”.

© Paris Tavitian: p. 26, 29, 30-31, 226-227, 233, 246-247.

Of all of the available transliterations of Greek toponyms into English,


we have chosen here, with a few exceptions, to use the most simplified,
e.g. “agios” for “άγιος”, “Sifnos” for “Σίφνος”, etc.

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Authors of Catalogue alphabetically

Dr. Anastasia Angelopoulou, Ephorate of Antiquities of the Cyclades


Dr. Michael Boyd, University of Cambridge
Dr. Aikaterini Ar. Karkani, Ephorate of Antiquities of Athens
Dr. Eleni Konstantinidi-Syvridi, National Archaeological Museum
Msc Katerina Kostanti, National Archaeological Museum
Yannos Kourayos, Ephorate of Antiquities of the Cyclades
Msc Irini Legaki, Ephorate of Antiquities of the Cyclades
Msc Ioulia G. Lourentzatou, Museum of Cycladic Art
Dr. Katia Manteli, National Archaeological Museum
Dr. Marisa Marthari, Honorary Director of Antiquities
Msc Mavroeidis Mavroeidopoulos, Ephorate of Antiquities of the Cyclades
Dr. Kostas Nikolentzos, National Archaeological Museum
Apostolos S. Papadimitriou, Ephorate of Antiquities of the Cyclades
Theodora Papangelopoulou, Ephorate of Antiquities of the Cyclades
Dr. Kostas Paschalidis, National Archaeological Museum
Dr. Vasiliki Pliatsika, National Archaeological Museum
Prof. Lord Colin Renfrew, University of Cambridge
Dr. Maria Sakellaraki, Ephorate of Antiquities of Athens
Prof. Nicholaos Chr. Stampolidis, University of Crete, MCA
Ε. Tsivilika, Archaeologist - Former Director
Dr. Katerina Voutsa, National Archaeological Museum
Dr. Photeini Zapheiropoulou, Honorary Director of Antiquities

Lenders to the Exhibition

Athens, National Archaeological Museum


Athens, Museum of Cycladic Art
Athens, Paul and Alexandra Canellopoulos Museum,
Ephorate of Antiquities of Athens
Cyclades, Apeiranthos Archaeological Collection (M. Bardanis
Museum), Ephorate of Antiquities of the Cyclades
Cyclades, Naxos Archaeological Museum, Ephorate of Antiquities
of the Cyclades
Cyclades, Paros Archaeological Museum, Ephorate of Antiquities
of the Cyclades
Cyclades, Syros Archaeological Museum, Ephorate of Antiquities
of the Cyclades

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CONTENTS

Forwards 13

Preface 25

TEXTS

Prof. Nicholaos Chr. Stampolidis 35


Introduction
Supervisory Note on the Early Cycladic
Society Exhibition

Dr. Anastasia Angelopoulou 55


Early Bronze Age Settlements in
the Cyclades

Dr. Anastasia Angelopoulou 65


Early Cycladic Pottery

Theodora Papangelopoulou 73
Metallurgy – Metalwork

Dr. Katia Manteli 81


The Art of Marble Carving in the Early
Bronze Age Cyclades (third millennium BC)

Mavroeidis Mavroeidopoulos 89
Funerary Customs

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Irini Legaki 103
The Petroglyphs of Naxos and
the Lesser Cyclades

Dr. Photeini Zapheiropoulou 111


The Contribution of the Lesser Cyclades to
the Development of Early Cycladic Culture

Prof. Lord Colin Renfrew, 117


Dr. Marisa Marthari, Dr. Michael Boyd
The Curse of Looting:
The Scourge of Cycladic Archaeology

CATALOGUE OF OBJECTS

Social Focus 130


Activities, Crafts & Techniques 140
An Aspect of Social Life 196
Social Hierarchy 204
Beliefs and Cults 212

ABBREVIATIONS - BIBLIOGRAPHY 224

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THE CURSE OF LOOTING:
THE SCOURGE OF CYCLADIC
ARCHAEOLOGY
-
Prof. Lord Colin Renfrew, Dr. Marisa Marthari, Dr. Michael Boyd

INTRODUCTION: THE TRAGIC LOSS OF KNOWLEDGE

It is a tragic situation that most of the Early Cycladic sculptures now kept or
exhibited in the world’s museums apart from the state museums of Greece (as
well as nearly all those in private collections) are the product of clandestine
excavations. Their findspots are unknown. The circumstances of their discovery
are lost: in what circumstances they were found, with what materials they were
associated at the time of their discovery are not recorded. Consequently they
can add little to our knowledge and understanding of the distant Cycladic past.
The looting of Cycladic antiquities represents a tragic loss of knowledge.

The looting of the Early Cycladic cemeteries and the subsequent sale of their
grave goods, marble figurines in particular, is an aspect of illicit activity which
has had a continuous presence in the Cyclades since at least the late 18th century1.
The need of the great museums in Western Europe to form their collections
resulted in the quest for art treasures in Greece2. Along with the remains of
the classical Greek world other antiquities, including Cycladic marble figurines,
although sometimes described as "barbarian" or "ugly", were most welcome.

After the founding of the modern Greek state in 1833 and the more or less
contemporary establishment of the Greek Archaeological Service, excavation of
antiquities in Greece was regulated by law (Law 10/1834). Ludwig Ross, General
Ephor of Antiquities, responsible for the antiquities of the Aegean islands since
1834, made systematic efforts to combat illicit trafficking of Cycladic antiquities
since, despite the shortcomings of that first law, the export of antiquities from
Greece without government permission was illegal. As is clear from the archives
of the Ephorate of Antiquities for the Cyclades, Ross was particularly concerned
about the case of Petros Kordias, British vice-consul in Mykonos, who encouraged
the opening of tombs in the surrounding islands’ Early Cycladic cemeteries, and
particularly in the cemetery of Messada in Paros. It was through Kordias that
Cycladic antiquities came into possession of Lord Viscount Strangford, the British
ambassador in Constantinople. Strangford’s remarkable collection, which came to
the British Museum, included notable Cycladic figurines3.

Μore effective antiquities legislation has been in place since 1899 (Law
2646/1899) 4. From that time on the unauthorised excavation of cemeteries
or settlements in the Cyclades and indeed elsewhere in Greece can properly
p. 116
"Keros Hoard" artefacts (after
be characterized as "looting", since it was certainly illegal, even when carried
Sotirakopoulou 2005, 40, fig. 6). out by the landowner. Since the excavations were clandestine, the finds were

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unrecorded and all the information arising from the circumstances of discovery,
including the important associations of artefacts, was lost. Sadly most known
Early Cycladic sculptures in great European museums were recovered in this way,
with just a few significant exceptions.

Important and systematic excavations in the Early Cycladic cemeteries


were carried out in the 1890s by Christos Tsountas and well and promptly
published 5. They laid the basis for our current knowledge. The excavations of
Klon Stephanos in Naxos at the very beginning of the twentieth century were
thorough and systematic, but were not well-published until the important paper
by Papathanasopoulos 6 fifty years later. It took more than half a century until
systematic excavation (and publication) in the Early Cycladic cemeteries was
resumed by Christos Doumas 7. It is from the works of these three excavators
that our understanding of the Early Cycladic cemeteries mainly rests, and of
the sculptures which were recovered from them.

Early Cycladic sculpture was not greatly esteemed until the early twentieth
century. Then, however, the modernist movements, as represented by such
sculptors as Picasso, Braque, Brancusi and Giacometti, created a new aesthetic,
in which the striking simplicity of Cycladic sculpture came to be greatly
appreciated 8. From that time these sculptures were no longer regarded as
mere curiosities, but as works of art 9, and began to be priced accordingly. The
escalation in price has continued, so that in 2010 an Early Cycladic sculpture
lacking any secure provenance or proof of authenticity was sold for 16.8 million
dollars at auction in New York 10.

Excavations in the Early Cycladic settlements have been rather few, and in
general have not yielded many well preserved Early Cycladic sculptures. Those
that have been unearthed during systematic excavations have recently been
surveyed 11 in a publication, Early Cycladic Sculpture in Context, which does lay
appropriate emphasis on the circumstances and associations of discovery. The
sanctuary at Kavos on Keros has indeed yielded numerous fragmentary Cycladic
sculptures from the two special deposits there 12, but sadly the richer of these
was extensively looted before systematic excavation was undertaken 13. Only one
intact large figurine (58.3 cm in height) was uncovered in authorised excavation
on Keros, from near the so-called Special Deposit North 14.

In this short paper it is our purpose to draw attention again the loss to
knowledge which this situation represents and to emphasise the need for strict
adherence to the principles of the 1970 UNESCO Convention. If museums and
private collectors would refrain from acquiring any Early Cycladic material which
has come to light since 1970, the year of the UNESCO Convention, ongoing
looting might be diminished.

THE VALUE OF CONTEXT

Context is paramount. It is only when scientifically conducted excavations


recover archaeological materials in their stratigraphic context that valid
inferences can be made about the circumstances in which they were buried,
about their chronology and about their function. In a trenchant article Gill and
Chippindale 15 argued persuasively that any Cycladic materials deriving from
illicit (and unpublished) excavations could safely be disregarded since their

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authenticity could not be guaranteed. There is much logic in this view, but it may
go too far in excluding from consideration discoveries made in the early years of
the nineteenth century, before the modernist movement created a new aesthetic
which produced a demand for antiquities resulting in the production of forgeries.

It is a melancholy fact that no complete Cycladic sculptures more than 60 cm


in height have yet been recovered in authorised excavations, although several
without any secure find context are known. But the very large sculpture, 1.53
metres in height, in the National Archaeological Museum in Athens16 and said
to be from Amorgos has been known and documented since the 1880s17. It is
unlikely to be a forgery or fake, since at the time of its discovery no such large
sculptures had ever been discovered. There was no prototype for a faker or forger
to use. Yet large sculptures are now well-documented by several fragmentary
examples from the Special Deposits North and South at Kavos on Keros18. On
these and related grounds the authenticity of this monumental piece can be
accepted. Similar arguments apply to the marble harpist and flautist, reportedly
from Keros, now in the National Archaeological Museum19 which have been known
and documented since their publication by Köhler20. Marble bases of comparable
form (but lacking the entire standing figure which they originally supported) have
again been documented from the Special Deposit North on Keros21. On this and
other grounds the authenticity of the two Keros musicians can be accepted. On
the other hand many Cycladic sculptures which have more recently come to light,
including for instance the marble harpist in the Metropolitan Museum of Art (inv.
no. 47.100.1)22, seem of doubtful authenticity23. It has been argued24 that all Early
Cycladic sculptures of unknown origin, and therefore lacking secure context, which
have emerged on the market after the year 1914, should be regarded as of doubtful
authenticity. It can be argued that those which were known and published before
that year may generally be taken as genuine, on the grounds that the faking of
Early Cycladic antiquities (i.e. their replication with the intent to deceive) probably
did not begin much before that date.

The situation is a very difficult one. To dismiss entirely all archaeologically-


undocumented Cycladic sculptures which have emerged on the market or in
private collections since the year 1914 may seem a rather rigorous and inflexible
position. On the other hand there is no secure way by which the authenticity of
such unprovenanced pieces can be demonstrated or guaranteed.

CHANGING ETHICAL VALUES: RECURRING PROBLEMS

It is clear that Early Cycladic sculptures were regarded as collectible curiosities


already before the nineteenth century, since the British Museum has examples
collected before that time 25. But it was not until the later years of the nineteenth
century Cycladic tombs were excavated by J. Theodore Bent on Antiparos 26 and
Ferdinand Dümmler on Amorgos 27. As noted above the systematic excavations
of Tsountas in the 1890s established a new standard of excellence 28. Tsountas,
a leading figure in the Greek Archaeological Service, criticized the opening of
graves by Bent in Antiparos 29.

Although there are a few pieces which today seem dubious that entered museum
collections before 1914 30 it seems likely that these sculptures were not extensively
forged or faked prior to 1914. It is now clear that the most extensive looting took
place in the Cyclades in the 1950s and 1960s, and that, despite the good efforts

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of the Greek Archaeological Service and, some looting probably continues today,
although on limited scale. And certainly fakes and forgeries continue to be
produced (see below on the case of the so-called "Stafford Master").

The most graphic demonstration of the scale of recent looting and the flagrant
display of illicit sculptures came with the now notorious Kunst der Kykladen
exhibition in the Badisches Landesmuseum in Karlsruhe, curated by Jürgen
Thimme 31. Along with some well-known Early Cycladic sculptures loaned by
recognised museums (such as the British Museum, the Dresden Museum, the
Ashmolean Museum, and the Fitzwilliam Museum) were numerous pieces which
had never previously been displayed. Clearly, if authentic, they had left Greece
illegally and in recent years. The exhibition catalogue, handsomely produced,
also created a questionable impression by including advertisements by a number
of antiquities dealers. It was in this exhibition that a number of pieces, allegedly
from Keros and in the Erlenmeyer Collection, were first exhibited. In retrospect
the Greek Government would have done well at that time to protest at the public
display of so much material that had clearly been illegally exported from Greece.
For when the Greek Embassy tried to prevent the auction of the Erlenmeyer
Collection by Sotheby’s in London in 1990 by seeking an injunction in the High
Court, the injunction was not granted, on the grounds that the material had
previously been publicly exhibited (in Karlsruhe), without official protest.

This was perhaps the most public demonstration, and indeed affirmation, of the
looting which had taken place in the Cycladic islands over the previous two or
three decades. But at least the public conscience was by now being stirred. For
it was in Paris in the year 1970 that the UNESCO Convention on the Means of
Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership
of Cultural Property was adopted. Although it was not ratified at once by all the
participating nations, it has now been very widely ratified and accepted and
establishes a number of fundamental principles. In the year 1998 the Trustees
of the British Museum resolved that henceforth the Museum’s policy would
be to "refuse to acquire objects which have been illegally excavated and/or
exported from their countries of origin", and many of the world’s major museums
have likewise agreed to follow the principles of the 1970 UNESCO Convention,
including the J. Paul Getty Museum of Malibu, which previously had no defined
ethical acquisition policy. It is of special importance that the Badisches
Landesmuseum in Karlsruhe also recently agreed to follow the principles of the
1970 UNESCO Convention after the refusal of all departments of the Hellenic
Ministry of Culture (the Ephorate for the Cyclades, the National Archaeological
Museum at Athens, the Directorate of Museums and the General Directorate
of Antiquities) to participate in the exhibition Kykladen: Lebenswelten einer
Frügriechischen Kultur organized by this Museum in 2011 32. Indeed, the
Landesmuseum, following a formal request from the Hellenic Ministry of Culture,
returned to Greece two Cycladic antiquities, which if they had a secure context
would have been particularly important, a chlorite frying pan with relief spiral
decoration 33 and a large marble figurine, 88 cm high 34, both of which had been
purchased after 1970.

The world’s major museums, guided by the International Council of Museums


(ICOM), have now gradually adopted ethical acquisition policies 35, but some still
do not enforce them with rigour. For example some museums will still accept as
gifts or bequests antiquities which they would no longer feel able to purchase.

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But sadly these new ethical standards have not yet been very widely followed
by collectors. Nor indeed by dealers in antiquities, despite the adoption by
dealers in some countries of ethical codes of practice. The high prices currently
commanded at auction in the world’s leading auction houses for Early Cycladic
antiquities which lack provenance before 1970, and must therefore be regarded
as illicit, is a depressing indicator of this.

THE LOSS TO KNOWLEDGE: SOME EXAMPLES

It seems a tragic circumstance that although several almost life-sized Early


Cycladic sculptures exist, including two particularly notable heads, none of these
comes from a documented excavation context which could give a clear and valid
insight into the original contexts of their use. It is only recently, in the officially
authorised excavations in the Special Deposits North and South on Keros 36 that
pieces of undoubted authenticity, originally more than 70 cm in height, have
come to light. But these, like the other finds from the special deposits at Kavos
on Keros, were fragments, having been deliberately broken before burial. It is
clear that while the special deposits on Keros were their final destination; this
was not the context where these sculptures were first used.

The largest known Early Cycladic figure, 1.53 metres in height, now in the
National Museum in Athens (inv. no. 3978) 37, while allegedly from Amorgos, was
purchased by the Archaeological Society at Athens from the Athenian dealer
Ioannis Palaeologos in the 1880s 38. As noted above, its early date of acquisition
makes its authenticity secure, but its context of discovery is not known, and
even the island of its discovery is not certain. All the other known and complete
folded-arm figures over 70 cm in height are entirely without provenance. For
instance the very large figure in the N.P. Goulandris Museum (cat. no. 190) 39 is
1.4 metres in height, but was acquired only in the 1980s, and so cannot be taken
into consideration here.

The position is similar with the monumental heads. The notably large head,
allegedly from Keros, now in the Musée du Louvre 40 was a nineteenth century
donation, and its authenticity may be regarded as secure, but nothing is known
of its context of discovery. The same criticism applies to the large head, 29 cm
in height, in the National Museum in Athens (NAM 3909) 41, again purchased from
the dealer Ioannis Palaiologos 42. There is no documented record of any of these
very large figures being found in an Early Cycladic grave. Their occurrence in the
special deposits at Kavos on Keros 43 testifies to their ritual use, but the detailed
circumstances of their original use are frustratingly unclear.

A further example of the difficulties surrounding the reliable study and


understanding of these sculptures is offered by their detailed stylistic study.
Pat Getz-Preziosi (also writing as Getz-Gentle) has offered series of perceptive
analyses, in which the Early Cycladic folded-arm figurines of the various
recognised varieties 44 are further assigned to individual sculptors, although
some critics would prefer to see these groups of sculptures as the product of
different workshops rather than of individual sculptors. In her book Personal
Styles in Early Cycladic Sculpture 45 she offers twenty checklists of individual
sculptors whom she has identified. Getz-Gentle herself 46 recounts the problems
she experienced with the sculptor formerly termed by her "the Stafford Master"
(the name Stafford being that of the owner of the example chosen as the name

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piece). But, as she describes, she concluded that this piece as well as three
others, which she came to regard as forgeries, was a twentieth-century creation.
So the sculptor in question was re-named "the Louvre Sculptor" after a sculpture
in the Louvre which had been acquired in 1913. (The Stafford example was first
published in 1954).

The similarities which Getz-Gentle has recognised among the pieces assigned to
her named "master" or "sculptors" are often striking. And indeed in general her
stylistic comparisons are very persuasive. But if one excludes, on the grounds
of uncertain authenticity, all those pieces (if not from authorised and published
excavations) which have emerged since the year 1914 (as recommended above),
then the lists are seriously reduced. Some are left with two or three members
known before 1914, others disappear completely (such as that for the Karlsruhe-
Woodner sculptor, the Rodgers sculptor or the Bastis sculptor), lacking a single
example which derives either from an authorised excavation or which was
published prior to 1914. The comparison is a shocking testimony to the scale of
the looting which the archaeological record has experienced, even if a significant
proportion of these pieces are modern fakes. Clearly not all of them are fakes –
although it is difficult to know which are and which are not. But the application
of the "pre-1914" criterion makes very questionable some aspects of Getz-Gentle’s
admirably systematic division into the products of individual sculptors or
workshops.

THE SITUATION NOW

The current situation in Cycladic studies is not a happy one. One might
have hoped that in the light of the apparent reform in museum ethics, this
perspective would be communicated to private collectors, and that demand
for unprovenanced Early Cycladic sculpture on the open market would recede.
However such is not the case. Auction houses widely considered respectable
continue to offer for sale Cycladic antiquities which certainly have no collecting
history extending back as far as 1970. The implication must certainly be that
these are illicit antiquities, illegally excavated. But the attempt by the Greek
Government to prevent the sale by Sotheby’s in London in 1990 of Cycladic
sculptures from the Erlenmeyer Collection was unsuccessful. The collection was
dispersed, and the N.P Goulandris Museum of Cycladic Art managed to purchase
a significant proportion from the auction, as Sotirakopoulou 47 (2005) has
documented. At a sale in New York by Christie’s a marble Cycladic figure without
any provenance before the year 1965 (and thus, inescapably – if authentic –
derived form an illicit excavation) was sold for $16,882,500 48.

Last year Laetitia Delaloye, Head of Sale in the Antiquities department of


Christie’s in London could write:

My highlight of the year was a Cycladic marble female figure, which came
from a distinguished French private collection formed by Henri Paricaud, a
Chevalier de l’Ordre National du Merite. With his wife Photinie, who was
of Greek descent, Paricaud used to travel around the Mediterranean and the
couple’s love for ancient civilisations inspired their acquisitions.

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This female figure, with her lyre-shaped head and rounding hips, was
originally to be shown reclining. It dates from between 2700-2600 BC and
encompasses the most iconic sculptural types to have survived from
antiquity. They were found in the context of burial sites and probably had
a votive or ritualistic role, but to this day it is still not clear what their original
function was, and I find this aura of mystery captivating 49.

This figure, 17.5 cm high, was sold on 15th April 2015 by Christie’s in London for
£194,000. But the catalogue entry could not document its existence prior to the
year 1984. So despite the supposedly distinguished status of its former owner it
must have almost certainly have been an illicit antiquity, looted from Greece in
the years after the Second World War.

When the public sale of illicit antiquities continues in supposedly reputable


auction houses in London and New York it is clear that the battle against looting
is not yet won. The financial incentives for looters remain high. They are not
diminishing.

1
Doumas 1991, 25-30; Doumas 1996; Sherratt 2000, 4-7; 29
Τσούντας 1898, 140.
Marthari 2001, 164-165. 30
Sherratt 2000.
2
Etienne - Etienne 1990, 65-67. 31
Thimme 1976.
3
Marthari 2005, 137-139. 32
Hattler 2011.
4
Marthari 2001, 163. 33
Thimme 1976, no. 364.
5
Τσούντας 1898; Τσούντας 1899. 34
Thimme 1976, no. 151.
6
Παπαθανασόπουλος 1961/62. 35
Renfrew 2000.
7
Doumas 1977a. 36
Renfrew - Boyd 2017, 379-394; Sotirakopoulou et al.
8
Sachini 1984. 2017, 345-368.
9
Zervos 1934. 37
Zervos 1957, pl. 297.
10
Bernheimer 2010. 38
Galanakis 2013, 117.
11
Marthari et al. 2017. 39
Renfrew 1991, pl. 103.
12
Renfrew et al. (in press); Renfrew - Boyd 2017, 379- 40
Zervos 1957, 135, pl. 161.
394; Sotirakopoulou et al. 2017, 345-368. 41
Wolters 1891; Zervos 1957, 147, pls. 177-178.
13
Sotirakopoulou 2005. 42
Galanakis 2013, 117.
14
Zapheiropoulou 2017, 336-344. 43
Sotirakopoulou et al. 2017, 345-368.
15
Gill - Chippindale 1993, 601-659. 44
Renfrew 1969.
16
Zervos 1957, pl. 297. 45
Getz-Gentle 2001.
17
Galanakis 2013, 181-206. 46
Getz-Gentle 2001, 104-105.
18
Sotirakopoulou et al. 2017, 345-368; Renfrew - Boyd 47
Sotirakopoulou 2005.
2017, 379-394. 48
Christies 2010: A Cycladic Marble Reclining Female
19
Zervos 1957, pls. 302, 333-334. Figure, http://www.christies.com/lotfinder/Lot/a-
20
Köhler 1884, 156-159. cycladic-marble-reclining-female-figure-name-piece-
21
Zapheiropoulou 1968, 98, fig. 4. 5385394-details.aspx [accessed 15 November 2016].
22
Richter 1953, 14-15. 49
Christies 2015: ‘My highlight of 2015’ — a Cycladic
23
Craxton - Warren 2004, 109-114. marble female figure, http://www.christies.com/
24
Renfrew 2017. features/a-Cycladic-marble-female-figure-my-
25
See above n. 23 and Pryce 1928. highlight-of-2015-6949-1.aspx [accessed 15 November
26
Bent 1884, 42-59. 2016].
27
Dümmler 1886, 15-46.
28
Τσούντας 1898, 137-212; Τσούντας 1899, 73-134.

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ABBREVIATIONS

EBA Early Bronze Age


EC Early Cycladic
LN Late Neolithic
BD. Base Diametre
cm centimetres
D. Diametre
H. Height
L. Length
M. Maximum
mm millimetres
RD. Rim Diametre
Th. Thickness
W. Width
BC Before Christ
ca. circa
cat. no. catalogue number
cf. Confer
e.g. exempli gratia
et al. et alii
etc. et cetera
fig. figure
i.e. id est
inv. no. inventory number
pl. plate
s.v. sub voce/sub verbe
vol. volume

224
AAA Αρχαιολογικά Ανάλεκτα εξ Αθηνών
Άγκυρα Άγκυρα : Δελτίο της Καϊρείου Βιβλιοθήκης
ΑΕ Αρχαιολογική Εφημερίς
ΑΕΜΘ Το Αρχαιολογικό Έργο στη Μακεδονία και Θράκη
ΑΔ Αρχαιολογικό Δελτίο
Αργοναύτης Α. Βλαχόπουλος and Κ. Μπίρταχα (eds), Αργοναύτης. Τιμητικός τόμος
για τον Καθηγητή Χρίστο Γ. Ντούμα, Αθήνα 2003
ΕΕΚΜ Επετηρίς της Εταιρείας Κυκλαδικών Μελετών
Μαρκιανή Αμοργού L. Marangou, C. Doumas, C. Renfrew and G. Gavalas (eds), Μαρκιανή
Αμοργού. Markiani, Amorgos. An Early Bronze Age Fortified settlement.
Overview of the 1985-1991 Investigations, BSA, Suppl. vol. no. 40,
Oxford and Northampton 2006
ΠΑΕ Πρακτικά της εν Αθήναις Αρχαιολογικής Εταιρείας
Πολιόχνη C. G. Doumas and V. La Rosa (eds), Η Πολιόχνη και η Πρώιμη Εποχή του
Χαλκού στο Βόρειο Αιγαίο. Διεθνές Συνέδριο Αθήνα, 22 - 25 Απριλίου
1996, Αθήνα 1997

AA Archäologischer Anzeiger
Aegaeum Annales d’archéologie égéenne de l’Université de Liège
AJA American Journal of Archaeology
ΑΜ Mitteilungen des Deutschen Archäologischen Instituts:
Athenische Abteilung
AnatSt Anatolian Studies
BCH Bulletin de correspondance hellénique
BOREAS BOREAS. Münstersche Beiträge zur Archäologie
BSPF Bulletin de la Société préhistorique française
BSA The Annual of the British School at Athens
CCS VI G. Cadogan (ed.), The End of the Early Bronze Age in the Aegean,
Cincinnati Classical Studies, New Series VI, Leiden 1986
JdI Jahrbuch des Deutschen Archäologischen Instituts
JHS Journal of Hellenic Studies
JMAA Journal of Mediterranean Anthropology and Archaeology
Hesperia Hesperia. Journal of the American School of Classical Studies at Athens
«Horizon-Ορίζων» N. Brodie, J. Doole, G. Gavalas and C. Renfrew (eds), «Horizon-Ορίζων».
Α Colloquium on the Prehistory of the Cyclades, McDonald Institute
Monographs, The McDonald Institute or Archaeological Research,
University of Cambridge 2008
ΜΜJ Metropolitan Museum Journal
PC J. A. MacGillivray and R. L. N. Barber (eds), The Prehistoric Cyclades.
Contributions to a Workshop on Cycladic Chronology, Edinburg 1984
Problems E. B. French and K. A. Wardle (eds), Problems in Greek Prehistory.
Papers presented at the Centenary Conference of the British School of
Archaeology at Athens, Manchester, April 1986, Bristol 1988
SIMA Studies in Mediterranean Archaeology
UPA Universitätsforschungen zur prähistorischen Archäologie

225
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#CycladicSociety
cycladic.gr

The catalogue of the exhibition Cycladic Society


5000 years ago was published in December 2016
in 2000 copies in Greek and 500 in English.

Designed by
Bend

Produced by
Lyhnia SA

248

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