Journal articles: 'Nicholson Museum of Antiquities'

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Clerkin and Taylor. "Online Encounters with Museum Antiquities." American Journal of Archaeology 125, no. 1 (2021): 165. http://dx.doi.org/10.3764/aja.125.1.0165.

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Woodford, Susan, Alexander Cambitoglou, and E. G. D. Robinson. "Classical Art in the Nicholson Museum, Sydney." American Journal of Archaeology 101, no. 1 (January 1997): 193. http://dx.doi.org/10.2307/506284.

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Wise, Karen. "Museum Anthropology Reviews:Beyond Beauty: Antiquities as Evidence." American Anthropologist 101, no. 2 (June 1999): 407–8. http://dx.doi.org/10.1525/aa.1999.101.2.407.

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Zimmermann, Jean-Louis. "A Geometric Greek Horse in the Nicholson Museum." Antichthon 21 (1987): 1–8. http://dx.doi.org/10.1017/s0066477400003518.

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Although its origins are unknown, this small bronze statuette could well have come from Olympia, judging by its patina and by eight very similar figurines found in this sanctuary. These animals, which are distinguished by an exaggeratedly large head, and by the very noticeable contrast between the substantial body and the feet, which are considerably wider than they are thick, are typical products of the craftsmen of Olympia.

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Riggs, Christina. "Colonial Visions." Museum Worlds 1, no. 1 (July 1, 2013): 65–84. http://dx.doi.org/10.3167/armw.2013.010105.

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During the Egyptian revolution in January 2011, the antiquities museum in Tahrir Square became the focus of press attention amid claims of looting and theft, leading Western organizations and media outlets to call for the protection of Egypt’s ‘global cultural heritage’. What passed without remark, however, was the colonial history of the Cairo museum and its collections, which has shaped their postcolonial trajectory. In the late nineteenth and early twentieth centuries, the Cairo museum was a pivotal site for demonstrating control of Egypt on the world stage through its antiquities. More than a century later, these colonial visions of ancient Egypt, and its place in museums, continue to exert their legacy, not only in the challenges faced by the Egyptian Antiquities Museum at a crucial stage of redevelopment, but also in terms of museological practice in the West.

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Okhotnikov, S. B. "The Odessa Museum of Archaeology." Ancient Civilizations from Scythia to Siberia 1, no. 1 (1995): 75–79. http://dx.doi.org/10.1163/157005794x00345.

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AbstractThe Odessa Museum of Archaeology was founded in 1825 by local antiquarians. The museum's collection grew in part due to excavations of classical sites in the region, in part due to gifts and purchases from dealers in classical antiquities. Up to the Second World War the focus of the Museum's activities was classical archaeology. In the post-war period this expanded to include the whole of the ancient history of the region from the Stone Age to the Middle Ages. The museum now houses one of the best collections of Classical Antiquities in the former Soviet Union and the third-ranking Egyptological collection. The museum formed from 1972 part of the Soviet Academy system and undertook fieldwork on the Lower Dniester at Bronze Age sites, as well as at classical sites such as Tyras, Nikonion, the site of the ancient Odessos, and Leuke and medieval sites such as Belgorod.

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Suanova, R. Е. "Antiquities Museum of Alanya Social and Cultural Institute." Vestnik of North-Ossetian State University, no. 3 (2018): 62–65. http://dx.doi.org/10.29025/1994-7720-2018-3-62-65.

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Dzarasueva, Zemfira V. "Kanfar From the Museum of Antiquities of Alanya." Vestnik of North-Ossetian State University, no. 4 (December 25, 2019): 32–35. http://dx.doi.org/10.29025/1994-7720-2019-4-32-35.

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Svanberg, Fredrik. "Research Restarted at the Museum of National Antiquities." Current Swedish Archaeology 17, no. 1 (June 10, 2021): 223–24. http://dx.doi.org/10.37718/csa.2009.19.

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Sowada, Karin. "A Late Eighteenth Dynasty Statue in the Nicholson Museum, Sydney." Journal of Egyptian Archaeology 80, no. 1 (December 1994): 137–43. http://dx.doi.org/10.1177/030751339408000111.

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Scott, David A. "Modern Antiquities: The Looted and the Faked." International Journal of Cultural Property 20, no. 1 (February 2013): 49–75. http://dx.doi.org/10.1017/s0940739112000471.

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AbstractThis article discusses some of the issues regarding the acquisition of art and the different philosophical views of some of the main protagonists regarding the reclaiming of art by nation-states, following American museums' acceptance of the 1970 UNESCO Convention, using examples from the Getty Museum and the Metropolitan Museum of Art. The mediation of Native American Graves Protection and Repatriation Act (NAGPRA) claims by conservators is often an important component of the dialogue between museums and native communities. The philosophical and art-historical opinions regarding the value of copies and reproductions of works of art have oscillated from promulgation in the 1860s to outright rejection by the 1920s. In a modernist sense, points of view are once again open to reevaluation as host nations demand back more originals than ever before. Arguments against the claims of nationalist-retentionist countries and those advanced in favor of the claims of nation-states regarding the repatriation of their art are discussed. The problems created by looted art in association with the ever-increasing number of fakes is highlighted, with examples of the issues surrounding pre-Columbian art and some classical antiquities. The utility of copies in relation to the protective value of the authentic piece is discussed in the context of museum examples in which the concept of the utilization of copies for museum display has been accepted in certain cases as desirable.

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Cook, B. F. "The archaeologist and the art market: policies and practice." Antiquity 65, no. 248 (September 1991): 533–37. http://dx.doi.org/10.1017/s0003598x00080121.

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The Keeper of Greek and Roman Antiquities at the British Museum sets out his view of where responsible museums and researchers should find a balance in the difficult matter of unprovenanced antiquities that may be the spoils of recent looting.

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Donkow, Izabella. "The Ephesus excavations 1863–1874, in the light of the Ottoman legislation on antiquities." Anatolian Studies 54 (December 2004): 109–17. http://dx.doi.org/10.1017/s0066154600000594.

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AbstractThe article discusses the introduction of Ottoman legislation on antiquities and its implication for the Ephesus excavations of 1863–1874, led by John Turtle Wood on behalf of the British Museum. It is argued that instrumental in the termination of the archaeological works at the site was the Ottoman law on antiquities of 1874, which was about to be promulgated and the recurrent difficulties in obtaining renewal of a firman, necessary for any archaeological endeavours undertaken by foreigners. Attention is drawn to the close relationship between the rise of the Imperial Museum in Istanbul, the promulgation and implementation of the Ottoman legislation on antiquities and their effect on circumscribing the archaeological activities of foreign nations. Growing contemporary Ottoman interest in antiquities, reflecting an increased awareness of their role in the re-definition of the identity of the country, laying claim to participation in European culture, is briefly touched upon.

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Leahy, Kevin, Roger Bland, Della Hooke, Alex Jones, and Elisabeth Okasha. "The Staffordshire (Ogley Hay) hoard: recovery of a treasure." Antiquity 85, no. 327 (February 2011): 202–20. http://dx.doi.org/10.1017/s0003598x00067545.

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The Staffordshire (Ogley Hay) hoard was found on the 5–10 July 2009 by Mr Terry Herbert while metal-detecting on arable land at a site in south Staffordshire in the English Midlands (Figure 1).Mr Herbert contacted Duncan Slarke, the Portable Antiquities Scheme's Finds Liaison Officer for Staffordshire and the West Midlands, who visited the finder at his home and prepared an initial list of 244 bags of finds. These were then taken to Birmingham Museum and HM Coroner was informed. Duncan Slarke also contacted the relevant archaeological authorities including English Heritage, the Staffordshire Historic Environment Record, the Potteries Museum, Stoke-on-Trent, Birmingham Museum & Art Gallery and the Portable Antiquities & Treasure Department at the British Museum. A meeting was held in Birmingham on 21 July at which it was agreed that the controlled recovery of the remaining objects of the hoard and an archaeological investigation of the findspot was a priority. It was also agreed that one of the Portable Antiquities Scheme's National Advisors, Dr Kevin Leahy, should compile a hand-list of finds in preparation for the Coroner's Inquest.

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Duthie, Emily. "The British Museum: An Imperial Museum in a Post-Imperial World." Public History Review 18 (December 31, 2011): 12–25. http://dx.doi.org/10.5130/phrj.v18i0.1523.

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This article examines the British Museum’s imperialist attitudes towards classical heritage. Despite considerable pressure from foreign governments, the museum has consistently refused to return art and antiquities that it acquired under the aegis of empire. It is the contention of this article that the British Museum remains an imperialist institution. The current debates over the British Museum’s collections raise profound questions about the relationship between museums and modern nation states and their nationalist claims to ancient heritage. The museum’s inflexible response to repatriation claims also encapsulates the challenges inherent in presenting empire and its legacy to contemporary, post-imperial audiences.

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Sowada, Karin. "A Late Eighteenth Dynasty Statue in the Nicholson Museum, Sydney." Journal of Egyptian Archaeology 80 (1994): 137. http://dx.doi.org/10.2307/3821856.

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Yurco, Frank J. "British Museum Dictionary of Ancient Egypt. Ian Shaw , Paul Nicholson." Journal of Near Eastern Studies 58, no. 3 (July 1999): 207–8. http://dx.doi.org/10.1086/468714.

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Roehrenbeck, Carol A. "Repatriation of Cultural Property–Who Owns the Past? An Introduction to Approaches and to Selected Statutory Instruments." International Journal of Legal Information 38, no. 2 (2010): 185–200. http://dx.doi.org/10.1017/s0731126500005722.

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Should cultural property taken by a stronger power or nation remain with that country or should it be returned to the place where it was created? Since the 1990s this question has received growing attention from the press, the public and the international legal community. For example, prestigious institutions such as the J. Paul Getty Museum of Art in Los Angeles and the Metropolitan Museum of Art in New York have agreed to return looted or stolen artwork or antiquities. British smuggler Jonathan Tokeley-Parry was convicted and served three years in prison for his role in removing as many as 2,000 antiquities from Egypt. Getty director Marion True defended herself against charges that she knowingly bought antiquities that had been illegally excavated from Italy and Greece. New books on the issue of repatriation of art and antiquities have captured the attention of the public. A documentary based on one of these books was shown in theaters and aired on public television. The first international academic symposium on the topic was convened in New York City in January 1995.

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Pai, Hyung Il. "Nationalism and preserving Korea's buried past: the Office of Cultural Properties and archaeological heritage management in South Korea." Antiquity 73, no. 281 (September 1999): 619–25. http://dx.doi.org/10.1017/s0003598x00065194.

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The origins of Korean archaeological heritage management can be traced to 1916, when Japan's Resident-general Government in Korea (Chōsen Sōtokufu: 1910-1945) promulgated the first comprehensive laws of historical preservation called the ‘Regulations for the Preservation of Korea's Remains and Relics’. They reflected a combination of late Meiji and early Taishō era laws tailored to the Korean peninsula such as Lost and Stolen Antiquities (1909); Temples and Shrines Protection Laws (1911); the Preservation of Stone and Metal Inscriptions (1916); and most significantly, the establishment of an administrative apparatus, the Committee on the Investigation of Korean Antiquities (1916). The Chōsen Sōtokufu Museum laws governing art exhibitions and display were compiled from Imperial Museum laws (Tokyo National Museum 1976) dating from 1890-1907 (Chōsen Sōkufu 1924: 215-30).

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Jakobsson, Mikael, and Anna Källén. "A Hobbling Marriage: On the Relationship Between the Collections and the Societal Mission of the Museum of National Antiquities in Stockholm." Current Swedish Archaeology 17, no. 1 (June 10, 2021): 151–64. http://dx.doi.org/10.37718/csa.2009.10.

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In the late 19th century, the new Museum of National Antiquities in Stockholm was a cutting-edge institution for the presentation of ideas of a universal human development from primitive to modern —ideas that were at the heart of the European colonial project. We argue that the archaeological collections with their unaltered 19th-century structures still represent a narrative that reproduces a colonial understanding of the world, a linear arrangement of essential cultural groups according to a teleological development model. Contrary to this, the contemporary mission of the Museum, inspired by the late 20th-century postcolonial thinking, is directed towards questioning this particular narrative. This problematic relationship is thus present deep within the structure of the Museum of National Antiquities as an institution, and it points to the need for long-term strategic changes to make the collections useful for vital museum activity in accordance with the Museum's mission.

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Cunliffei, Barry, Colin Renfrew, Chris Gosden, and Helen Geake. "The British Museum at 250." Antiquity 77, no. 298 (December 2003): 828–33. http://dx.doi.org/10.1017/s0003598x00061767.

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The British Museum marked the 250th anniversary of its foundation this year, with an exhibition, The Museum of the Mind: art and memory in world cultures. We asked four archaeologists to review the show: Barry Cunliffe, professor at Oxford University and a trustee of the Museum; Colin Renfrew, professor at Cambridge University and former trustee; Chris Godsen, curator at the Pitt-Rivers Museum, Oxford University and Helen Geake, formerly at Norwich Castle Museum and now working on the British government's portable Antiquities scheme for England and Wales. Here is what they say.

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Jefferson, Rebecca J. W. "‘What cannot often be obtainable’: the Revd Greville John Chester and the Bodleian genizah collection." Journal of the History of Collections 31, no. 2 (August 1, 2018): 271–89. http://dx.doi.org/10.1093/jhc/fhy023.

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Abstract The following article examines the Revd Greville John Chester’s activities in the Egyptian antiquities trade from 1889 to 1892, specifically his involvement in discovering and distributing Hebrew manuscripts from the now famous Cairo Genizah. Based on letters written by Chester to the Bodleian Librarian, E.W.B. Nicholson, as well as other supporting documentary evidence, this investigation provides insights into the early history of the Cairo Genizah manuscripts before Solomon Schechter’s celebrated ‘discovery’ of them in 1896/97. Overall, this article shows that the provenance story of ‘the Cairo Genizah’ is multi-faceted and needs to be subjected to much greater scrutiny.

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Ugleva, Nаtalia V. "COLLECTION OF FURNITURE IN THE MUSEUM “RUSSIAN ANTIQUITIES” P.I. SHCHUKIN." Articult, no. 3 (2018): 31–36. http://dx.doi.org/10.28995/2227-6165-2018-3-31-36.

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Jakobsen, Tove. "THE MUSEUM OF NORDIC ANTIQUITIES 1807-91: Exhibition and Conservation." Acta Archaeologica 75, no. 2 (December 2004): 95–128. http://dx.doi.org/10.1111/j.0065-001x.2004.00013.x.

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Karimova, Rukhayyo. "Restoration of Murals of the National Museum of Antiquities of Tajikistan." SHS Web of Conferences 50 (2018): 01233. http://dx.doi.org/10.1051/shsconf/20185001233.

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The paper analyses traditional and modern methods and technologies for preservation and restoration of wall paintings found through archaeological excavations in the Republic of Tajikistan. Medieval monuments such as the ancient Panjekent, Bundzhikat, Adzhina-Tepa and others gave a variety of works of pictorial art, including unique monumental paintings, the preservation of which presents a priority task for scientists, restorers and art experts. These artefacts are exposed in the State Hermitage Museum (St. Petersburg), the National Museum of Antiquities of Tajikistan, the Republican Museum of History and Local Lore of Rudaki in Penjikent and the National Museum of Tajikistan. The paintings portray diverse and interrelated household, mythological, religious and epic plots, battle scenes, scenes of feasts and hunting, as well as geometrical, vegetable, and zoomorphic motives. The study of these paintings helps scientists to study in detail the medieval history of Tajik people. Therefore, their preservation is the primary task of the corresponding experts. The paper is based on personal experience of the author in preservation and restoration of monumental paintings within international projects on preservation of cultural heritage of Tajik people.

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Fischer, Marina. "CVA – NICHOLSON MUSEUM 2 - M. Turner, A. Cambitoglou Corpus Vasorum Antiquorum. The Nicholson Museum, The University of Sydney. Red Figure and Over-painted Pottery of South Italy. The Nicholson Museum Fascicule 2. Pp. 111, b/w & colour ills, pls. Sydney: The Nicholson Museum, The University of Sydney, 2014. Cased, AUD$100. ISBN: 978-1-74210-329-7." Classical Review 66, no. 1 (October 20, 2015): 249–51. http://dx.doi.org/10.1017/s0009840x15001675.

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Onderka, Pavel. "Jaroslav Šejnoha and Egypt." Annals of the Náprstek Museum 38, no. 2 (2017): 53–74. http://dx.doi.org/10.1515/anpm-2017-0030.

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In 2012, the National Museum – Náprstek Museum accessioned a collection of 13 Egyptian antiquities from the original ownership of Jaroslav Šejnoha, who served as the Czechoslovak Ambassador to Egypt between 1944 and 1946. The collection consists of 13 highly interesting pieces, dating of which spans from the Pre-Dynastic to Greco-Roman Periods.

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Mugnai, Niccolò, Julia Nikolaus, David Mattingly, and Susan Walker. "Libyan Antiquities at Risk: protecting portable cultural heritage." Libyan Studies 48 (August 22, 2017): 11–21. http://dx.doi.org/10.1017/lis.2017.8.

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AbstractThis article provides an outline of the Libyan Antiquities at Risk (LAaR) project, which has developed a reference database and website recording Libyan antiquities that are under threat of being stolen and sold on the illegal art market. Since the Arab Spring in 2011 and the subsequent political instability, the number of antiquities that are trafficked out of Libya has risen sharply. The illustrated reference collection created by LAaR is mainly aimed at customs officials, international agencies, museum curators, the police and cultural heritage sector, to alert them about the likelihood of Libyan provenance of previously unrecorded material of similar appearance to known pieces, and thereby help to prevent the sale of Libyan antiquities on the illegal art market. LAaR is a collaboration between the Society for Libyan Studies and the University of Leicester.

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Yates, Donna. "Museums, collectors, and value manipulation: tax fraud through donation of antiquities." Journal of Financial Crime 23, no. 1 (December 31, 2015): 173–86. http://dx.doi.org/10.1108/jfc-11-2014-0051.

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Purpose – This paper aims to discuss the key aspects of the international trade in antiquities and the practice of philanthropic donation of objects to museums that allow for certain types of tax deduction manipulation, using a case of tax deduction manipulation from Australia and a case of tax fraud from the United States as examples. Design/methodology/approach – Two thoroughly researched case studies are presented which illustrate the particular features of current and past antiquities donation incentivisation schemes which leave them open to manipulation and fraud. Findings – The valuation of antiquities is subjective and problematic, and the operations of both the antiquities market and the museums sector are traditionally opaque. Because of this, tax incentivisation of antiquities donations is susceptible to fraud. Originality/value – This paper presents the mechanisms of the antiquities market and museum world to an audience that is not familiar with it. It then clearly demonstrates how the traditional practices of this world can be manipulated for the purposes of tax fraud. Two useful case studies are presented.

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James, N. "People's finds: context and control." Antiquity 85, no. 329 (August 2011): 1068–72. http://dx.doi.org/10.1017/s0003598x00068514.

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What should professional archaeologists do about objects discovered by amateurs? The best known cases involve metal-detectorists who, under the English 'Treasure Act (1996), are permitted to make agreements with land-owners to search for antiquities and keep them, although the Portable Antiquities Scheme (PAS; set up to complement the Act's provisions) encourages them to have their finds registered by an archaeologist. There is no doubt that this has greatly increased knowledge of artefacts discovered in England where, in the past decade, the annual number of 'portable antiquities formally reported has risen steeply (Bland 2008: 71). The British Museum is now promoting a code of practice (Bland 2008: 81–2); and, at pains to avoid counterposing professional archaeologists and amateurs, it is encouraging the opportunities for outreach and 'community archaeology' (British Museum n.d.: 16–18). Thus Bland (2008: 80) welcomes collective knowledge . . . founded on public . . . participation' rather than . . . research . . . conceived and executed by professionals'. Yet there are now fresh anxieties about preservation at detectorists' sites (Pestell & Ulmschneider 2003: 9–10; Wilson 2009; Plouviez 2010).

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Canadelli, Elena. "Marble Busts and Fish Fossils." Nuncius 31, no. 2 (2016): 439–83. http://dx.doi.org/10.1163/18253911-03102006.

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The historical catalogs of the museum collections contain a wealth of information for historians seeking to reconstruct their contents, how they were displayed and the ways in which they were used. This paper will present the complete transcription of a draft catalog that was prepared in 1797 for the Museum of Natural History and Antiquities of the University of Padua. Conserved in the university’s Museum of Geology and Paleontology, the catalog was the first to be compiled of the museum, which was established in 1733 thanks to the donation by Antonio Vallisneri Jr. of his father Antonio Vallisneri Sr.’s collection of antiquities and natural history. The catalog was compiled by the custodian of the museum, the herbalist and amateur naturalist Bartolomeo Fabris. It is of great interest because it provides a record of the number and nature of the pieces conserved in the museum at a time when natural history and archeology collections were still undivided. It also provides indications as to how such collections were arranged for display in the public halls of a university at the end of the eighteenth century. Based on this catalog, with additional information drawn from other manuscript and published sources and museum catalogs from the 1830s conserved in various institutes at the University of Padua, it is possible to reconstruct the contents and layout of a significant late 18th-century natural history collection.

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Holt, Sharon Ann, Sophie Kazan, Gloriana Amador, Joanna Cobley, Blaire M. Moskowitz, Elena Settimini, Angela Stienne, Anna Tulliach, and Olga Zulabueva. "Exhibitions." Museum Worlds 6, no. 1 (July 1, 2018): 125–57. http://dx.doi.org/10.3167/armw.2018.060110.

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Exhibition Review EssaysThe National Museum of African American History and Culture, Washington, D.C.After Darkness: Social Impact and Art InstitutionsExhibition ReviewsBehind the Red Door: A Vision of the Erotic in Costa Rican Art, The Museum of Costa Rican Art, San José“A Positive Future in Classical Antiquities”: Teece Museum, University of Canterbury, ChristchurchHeavenly Bodies: Fashion and the Catholic Imagination: The Metropolitan Museum of Art, New YorkAnche le Statue Muoiono: Conflitto e Patrimonio tra Antico e Contemporaneo, Museo Egizio, Fondazione Sandretto Re Rebaudengo, Musei Reali, TurinRethinking Human Remains in Museum Collections: Curating Heads at UCLRitratti di Famiglia, the Archaeological Museum, Bologna100% Fight – The History of Sweden, the Swedish History Museum, Stockholm

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Kazimierczak, Mariola. "MICHAŁ TYSZKIEWICZ (1828–1897): AN ILLUSTRIOUS COLLECTOR OF ANTIQUITIES." Muzealnictwo 60 (January 4, 2019): 64–77. http://dx.doi.org/10.5604/01.3001.0013.2202.

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Michał Tyszkiewicz was an outstanding collector of antiquities and a pioneer of Polish archaeological excavations in Egypt conducted in late 1861 and early 1862, which yielded a generous donation of 194 Egyptian antiquities to the Paris Louvre. Today Tyszkiewicz’s name features engraved on the Rotunda of Apollo among the major Museum’s donors. Having settled in Rome for good in 1865, Tyszkiewicz conducted archaeological excavations there until 1870. He collected ancient intaglios, old coins, ceramics, silverware, golden jewellery, and sculptures in bronze and marble. His collection ranked among the most valuable European ones created in the 2nd half of the 19th century. Today, its elements are scattered among over 30 major museums worldwide, e.g. London’s British Museum, Ny Carlsberg Glyptotek in Copenhagen, New York’s Metropolitan Museum of Art, or the Museum of Fine Arts in Boston. The latest investigation of M. Tyszkiewicz’s correspondence to the German scholar Wilhelm Froehner demonstrated that Tyszkiewicz widely promoted the development of archaeology and epigraphy; unique pieces from his collections were presented at conferences at Rome’s Academia dei Lincei or at the Académie des Inscriptions et Belles-Lettres in Paris, and published by Italian, French, Austrian, and German scholars. He was considered an expert in glyptic, and today’s specialists, in recognition of his merits, have called a certain group of ancient cylinder seals the ‘Tyszkiewicz Seals’, an Egyptian statue in black basalt has been named the ‘Tyszkiewicz Statue’, whereas an unknown painter of Greek vases from the 5th century BC has been referred to as the ‘Painter Tyszkiewicz’.

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Levine, Marc N., and Lucha Martínez de Luna. "Museum salvage: A case study of Mesoamerican artifacts in museum collections and on the antiquities market." Journal of Field Archaeology 38, no. 3 (July 2013): 264–76. http://dx.doi.org/10.1179/0093469013z.00000000053.

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Åström, Paul. "Cyprus and the Near East." Current Swedish Archaeology 3, no. 1 (December 28, 1995): 207–11. http://dx.doi.org/10.37718/csa.1995.19.

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Cypriote archaeology has flourished during the period, particularly at the Göteborg University and the Museum of Mediterranean Antiquities in Stockholm, and monographs and articles on Cypriote sites, pottery, chronology, religion, iron artefacts etc. have appeared.

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Burn, Lucilla. "Recent Acquisitions of Greek, Roman and Cypriot Antiquities at the Fitzwilliam Museum 2001–2006." Archaeological Reports 53 (November 2007): 191–97. http://dx.doi.org/10.1017/s0570608400000491.

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The Fitzwilliam Museum, founded through the bequest of Richard, 7th Viscount Fitzwilliam of Merrion (1745–1816), is the principal museum and art gallery of the University of Cambridge. The Museum's collection of Greek, Roman and Cypriot antiquities grew steadily throughout the 19th and 20th centuries by gift, bequest, excavation and purchase, and is today one of the finest such collections in the United Kingdom outside London.

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De Peyer, R. M., and A. W. Johnston. "Museum Supplement: Greek Antiquities from the Wellcome Collection: a distribution list." Journal of Hellenic Studies 106 (November 1986): 286–94. http://dx.doi.org/10.2307/629746.

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Lowenthal, David. "Classical antiquities as national and global heritage." Antiquity 62, no. 237 (December 1988): 726–35. http://dx.doi.org/10.1017/s0003598x00075177.

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The current campaign to return to Athens the Parthenon sculptures that have been in the British Museum since the early 19th century highlights the profoundly dual nature of Greek architectural and sculptural heritage, as emblems of both Greek and global attachment. Classical relics in particular have become symbols of Greek attachment to the homeland; underscoring links between past and present, they confirm and celebrate Greek national identity. Other elements of Greek heritage – language, literature, religion, folklore – likewise lend strength to this identity, but material remnants of past glories, notably temples and sculptures from the times of Phidias and Praxiteles, assume an increasingly important symbolic role (Cook 1984; Hitchens 1987).

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Harris, A. L. "Recent Acquisitions and Conservation of Antiquities at the Ure Museum, University of Reading 2004–2008." Archaeological Reports 54 (November 2008): 175–85. http://dx.doi.org/10.1017/s0570608400001009.

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The Ure Museum of Greek Archaeology, in the Department of Classics at the University of Reading, has experienced something of a renaissance in the 3rd millennium. It acquired status as a registered museum in 2001 and accreditation in 2008. It has boasted a bespoke web-accessible database since 2002 and a professionally designed website since 2004 (www.reading.ac.uk/ure). Finally, in 2005 its physical display was completely redesigned. While the existence of the Museum and some of its collections have long been well known to scholars of Gr vases – thanks to the tireless efforts of Percy and Annie Ure in the first half of the 20th Ct, including their 1954 publication of Corpus Vasorum Antiquorum. Great Britain 12. University of Reading (London, Oxford University Press, 1954), AR 9 (1962–1963) and some listings in Beazley and Trendall's volumes (see J.D. Beazley, Attic Red-figure Vase-painters, 2nd ed. [Oxford, Clarendon Press, 1963], A.D. Trendall and A. Cambitoglou, The Red-figured Vases of Apulia [Oxford, Clarendon Press, 1978–1982], A.D. Trendall, The Red-figured Vases of Lucania, Campania and Sicily (Oxford, Clarendon Press, 1967) – much of the collection remains unknown. Even in the 1960s, after all, the publication of fragments, lamps and Cypriote ceramics remained unfashionable. And the Ures, experts in Gr pottery, were little interested in publishing the Egyptian artefacts (approximately a 5th of the displayed collection) and other non-ceramic artefacts. As part of the Ure Museum's renaissance, University of Reading staff and students are researching and gradually publishing its hidden treasures: A.C. Smith, Corpus Vasorum Antiquorum. Great Britain 23. Reading Museum Service (Reading Borough Council) (Oxford, Oxford University Press, 2007) documents more than 150 vases, most in the Ure Museum, from the Reading Museum Service (Reading Borough Council); a forthcoming fascicule of the Corpus of Cypriote Antiquities will catalogue the Cypriote holdings in the Ure Museum; and another volume of Corpus Vasorum Antiquorum will detail approximately 200 holdings of the Ure Museum that are hitherto unpublished. The items discussed below, however, are those that have been acquired by the Ure Museum since 2004, as well a sample of the 19 Coptic textile fragments, which have been brought out of storage, conserved by the Textile Conservation Centre in Winchester and are now displayed in the Ure Museum (since 2005).

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Khartanovich, Margarita F., and Maria V. Khartanovich. "Museum of Classical Archeology of the 19th-century Imperial Academy of Sciences: The history of organizing and transferring collections to the Imperial Hermitage." Issues of Museology 12, no. 1 (2021): 13–27. http://dx.doi.org/10.21638/spbu27.2021.102.

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The Museum of Classical Archeology of the Imperial Academy of Sciences is the successor to the 18th-century Kunstkamera of the Academy of Sciences in term of collections of classical antiquities. This article discusses in detail the stages of development of the Museum of Classical Archaeology as an institution within the structure of the Academy of Sciences through the Cabinet of Medals and Rarities, Numismatic Museum, and the Museum of Classical Archaeology. The fund of the museum consisted of ancient Greek and Roman coins, ancient Russian coins, coins from oriental cultures, ancient Greek vases, antiquities from ornamental stone, glass, precious metals, impressions of medals and coins, items from archaeological excavations and treasures, manuscripts, drawings of objects and photographs. Special attention is paid to the correlation of the possibilities of museum collections of the Academy of Sciences and the Imperial Hermitage in terms of storage, exhibition, research, and promotion of archaeological collections in the second half of the 19th century. The reasons for the very active transfer of the Academy of Sciences’ archaeological collections to the Hermitage in the 19th century and the types of compensation received by the Academy for the collections are discussed. The first archaeological collections donated from the Academy of Sciences to the Hermitage on the initiative of the chairman of the Imperial Archaeological Commission S. G. Stroganov were the “Siberian collection” of Peter I and the Melgunov treasure. The collection of the Museum of Classical Archeology also attracted the attention of art critic I. V. Tsvetaev when arranging funds for the new Museum of Fine Arts at Moscow University. The article introduces into scientific circulation archival documents, showing the state of the museum work in the 19th century in the institution of the Academy of Sciences, documents depicting the structure of the Museum of Classical Archaeology, and the composition of collections.

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Alcalde, Gabriel, and Josep Burch. "The Emporium Museum (1910–1916), Empúries–L’Escala, Spain: between private collection of antiquities and public archaeological museum." Journal of the History of Collections 29, no. 3 (November 22, 2016): 497–507. http://dx.doi.org/10.1093/jhc/fhw037.

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Finn, Margot C. "MATERIAL TURNS IN BRITISH HISTORY: III. COLLECTING: COLONIAL BOMBAY, BASRA, BAGHDAD AND THE ENLIGHTENMENT MUSEUM." Transactions of the Royal Historical Society 30 (November 11, 2020): 1–28. http://dx.doi.org/10.1017/s0080440120000018.

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ABSTRACTThis lecture explores the history of Enlightenment-era collecting of antiquities to probe the claims to universality of Western museums. Focusing on the British Museum's Enlightenment Gallery, it underscores the imperial and familial contexts of British collecting cultures. Questioning received narratives of collecting which highlight the role played by individual elite British men, it suggests that women, servants and non-European elites played instrumental parts in knowledge production and the acquisition of antiquities. The private correspondence of the East India Company civil servant Claudius Rich – the East India Company's Resident or diplomatic representative at Baghdad 1801–1821 – and his wife Mary (née Mackintosh) Rich illuminates social histories of knowledge and material culture that challenge interpretations of the British Museum's Enlightenment Gallery which privilege trade and discovery over empire.

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Pripadchev, Andrey А. "Museum of the Voronezh Church History and Archeology Committee: 1900–17." Herald of an archivist, no. 3 (2020): 929–39. http://dx.doi.org/10.28995/2073-0101-2020-3-929-939.

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The article discusses the formation the Museum of the Voronezh Church History and Archeology Committee established in 1900. Its relevance is connected with scholars’ interest in the Museum's collections and their acquisition. The research novelty springs from researching the previously unexplored church societies activities in preservation of historical and cultural heritage of the Russian Orthodox Church. The main purpose of the research is to study the Museum's collections. To achieve this goal, the following tasks are formulated: to determine the composition of the Committee Museum fonds; to characterize its main exhibits; to study the nature of acquisition; to identify the donors of the Museum. The framework covers the period of the Voronezh Voronezh Church History and Archeology Committee functioning in 1900-17. The research methodology is based on the application of special historical methods: personality-oriented approach, historical-genetic, synchronistic, historical-system, method of historicism, which has allowed the author to consider and analyze the evolution of the Museum collection. It was formed mainly by private donations. One of the first donors was priest I. V. Surinov, who transferred materials of random excavations near his parish to the Museum. On the basis of this findings, the Museum’s collection of primitive antiquities was formed. The exhibits of the collection were presented at the XII Russian archaeological Congress in Kharkiv. Members of the Committee and other donors gave to the Museum paleontological finds, coins, church plate, ancient manuscripts. In 1906, the “ancient secular objects” were exchanged for “church” ones. The Museum began to focus exclusively on the Church antiquities. The collection was in formation until Committee’s liquidation in late 1917. The Museum was never officially opened. The fate of the exhibits is unknown. They probably perished either during the Seminary liquidation in 1918 or in 1942, when the city was occupied during the Great Patriotic War.

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Okasha, Elisabeth, and Susan Youngs. "The Limpsfield Grange disc." Anglo-Saxon England 25 (December 1996): 63–68. http://dx.doi.org/10.1017/s0263675100001939.

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In March 1992 a diminutive decorated disc was submitted for comment to the Department of Medieval and Later Antiquities, British Museum. The owner had found it by using a metal detector in an arable field south of the M25 motorway at Limpsfield Grange in the parish of Limpsfield near Oxted, Surrey (NGR TQ 4053). The disc appeared to be an isolated find and a Coroner's Inquest was not held. The piece was subsequendy sent for auction and acquired by the British Museum acting in cooperation with Guildford Museum. There is no Anglo-Saxon material recorded from the immediate area.

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Weinberg, Gladys Davidson, and A. J. Heisserer. "Classical Antiquities: The Collection of the Stovall Museum of Science and History." Classical World 82, no. 6 (1989): 476. http://dx.doi.org/10.2307/4350494.

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Ward, W. A., and A. J. Spencer. "Catalogue of Egyptian Antiquities in the British Museum, V. Early Dynastic Objects." Journal of Egyptian Archaeology 71 (1985): 10. http://dx.doi.org/10.2307/3821656.

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Madrid, Alfonso. "Work in historical osteology at the National Museum of Antiquities in Sweden." Museum International 38, no. 3 (September 1986): 155–57. http://dx.doi.org/10.1111/j.1468-0033.1986.tb00634.x.

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Marlowe, Elizabeth. "What We Talk About When We Talk About Provenance: A Response to Chippindale and Gill." International Journal of Cultural Property 23, no. 3 (August 2016): 217–36. http://dx.doi.org/10.1017/s0940739116000175.

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Abstract:In an influential article published in 2000, David Gill and Christopher Chippindale devised a scale to assess the quality of the provenance information provided for the antiquities displayed in seven recent high-profile exhibitions or collections. This article critically reviews Chippindale and Gill’s provenance scale, arguing that the values it encodes legitimize some of the more intellectually harmful practices of dealers and curators. The scale also fails to differentiate between more intellectually responsible methods of hypothesizing provenance and those that merely generate houses of cards. An alternative model for assessing how antiquities are discussed in museum scholarship, focusing on epistemological precision and reflexivity, is offered.

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Ivaniuk, Oleg. "Museumification of the military historical heritage in the Dnieper Ukraine and the Crimea in the 19th and early 20th centuries." Kyiv Historical Studies, no. 2 (2018): 81–88. http://dx.doi.org/10.28925/2524-0757.2018.2.8188.

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The article focuses on the beginning of the process of formation of museum collections relevant to the military past of the Dnieper Ukraine in the 19th — first decade of the 20th century. It is determined, in the research scope, that the process of creating museum exhibits, which consisted of monuments of military historical heritage, was influenced by the following: the development of archaeological research, which was stimulated by the domination of classicism, which induced interest in the ancient past, the imperial power ideologizing the historical process, the Ukrainian nobility (descendants of the Cossacks elders) preserving historical memory of the victorious past of their people, and so on. It is found, that during the 19th century, museumification of the 19th and early 20th centuries military heritage had several trends: the creation of “propaganda” exposition, which would remind of the key, from the tsarist regime point of view, imperial army victories, foster respect for the imperial family and the royal power institution self, commemorate imperial myths, the formation of the Cossacks antiquities collections, initiated by Ukrainian intellectuals and scholars; expositions formed by the military according to purely professional interest. During the 19th and early 20th centuries, a number of museums, which had monuments of military history as a part of their collections, were founded. Some of the aforementioned museums are the following: the Museum of Ukrainian Antiquities in Chernihiv, the Museum of Heroic Defense and the Liberation of the City of Sevastopol, the Museum of Poltava Battle, etc. Museumification of the military heritage has stimulated the development of various areas of special military-historical research.

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Cannavò, Anna, and Luca Bombardieri. "Cesnola Collection at the Turin University Museum of Anthropology and Ethnography." Kadmos 55, no. 1-2 (May 24, 2016): 37–48. http://dx.doi.org/10.1515/kadmos-2016-0003.

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Abstract A previously unpublished marble fragment from the Cesnola collection at the Turin University Museum of Anthropology and Ethnography bears an incomplete Phoenician inscription, a dedication to Eshmun-Melqart considered lost since 1869 (CIS I 26). The inscription allows to interpret the object bearing the dedication as a votive stone bowl from the late Classical Phoenician sanctuary of Kition-Batsalos in Cyprus, and it provides the opportunity to retrace the history of the Cesnola collection of Cypriote antiquities at the University Museum of Turin.

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Journal articles on the topic 'Nicholson Museum of Antiquities'

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