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Art, Law and Crises of Connoisseurship

Connoisseurship may be defined as expertise in art in the very narrowest of senses; surprisingly, however, it is also a definition in which many different disciplines intersect.

In the public realms of law and the art world, a ‘connoisseur’ must be recognized as being an expert, as being capable of giving credible testimony regarding the subject, and as remaining actively engaged with the world in which attributions and authentications are made. This public recognition takes years of work and is hard-won.

Yet, does this public recognition of expertise signify accuracy or truth in the claims that a connoisseur makes about art? This one-day conference investigates the always-interrelated and often mutually-troubled processes by which connoisseurship is constructed in the fields of art and law, and the ways in which these different fields come together in determining the scope and clarity of the connoisseur’s ‘eye’.

“Art, Law and Crises of Connoisseurship”

A conference organized by ArtWatch UK, the Center for Art Law (USA) and the LSE Cultural Heritage Law (UK), to be held at: The Society of Antiquaries of London, Burlington House, Piccadilly, London W1J 0BE – all inquiries to: artwatch.uk@gmail.com.

1 December 2015 from 08:30 to 19:30 (GMT)

London, United Kingdom

For full conference programme, see below.

Admission is by ticket only.

For ticket prices and to purchase tickets (exclusively through Eventbrite ), please click on: Art, Law and Crises of Connoisseurship

PROGRAMME

8.30 – 9.00: Registration

PART I: The Making of Art and the Power of Its Testimonies

9.00-25: Welcome and Keynote Paper: Michael Daley, “Like/Unlike; Interests/Disinterest”

Michael Daley (UK), Director, ArtWatch UK, an artist who trained for twelve years (with post-graduate studies at the Royal Academy Schools) and taught in art schools for fifteen years before practicing as an illustrator (principally with the Financial Times, the Times Supplements, the Independent and, presently, Standpoint magazine), will suggest that the principles of sound connoisseurship in making attributions and appraising restorations are implicit in fine art training and practice, and will discuss the trial in Italy of Professor James Beck on a charge of aggravated criminal slander brought in Italy by a restorer against the scholar but not against the newspapers which had carried his reported comments.

9.25-9.40: Euphrosyne Doxiadis, “Perception, Hype and the Rubens Police.”

Euphrosyne Doxiadis (Greece), a painter/scholar whose 1996 book The Mysterious Fayum Portraits: Faces from Ancient Egypt won the won the Prix Bordin, the Prix d’ ouvrage by the Académie des Beaux-Arts, Institut de France, and, the 1997 “Prize of the Athens Academy”, will challenge the Rubens attribution given to the National Gallery’s oil on panel Samson and Delilah in the 28th year of her researches. Astonished at her first sighting of this painting in the National Gallery, the author will discuss both its manifest artistic disqualifications and the edifice of support that surrounds an attribution first made in 1930 by a leading Rubens scholar who today is notorious for his many excessively-generous certificates of authenticity.

9.40-9.55: Jacques Franck, “Why the Mona Lisa would not survive modern day conservation treatment.”

Jacques Franck (FR), an art historian and a painter trained in Old Master techniques, is the Permanent Consulting Expert to The Armand Hammer Center for Leonardo Studies at The University of California, Los Angeles, with its European headquarters at the Centro Studi Leonardo da Vinci e il Rinascimento, Università degli Studi di Urbino, and an editorial consultant to Achademia Leonardi Vinci. He was a curator/exhibitor in the Uffizi’s exhibition La mente di Leonardo (2006) and will draw on experiences as an adviser to the Louvre’s restorations of Leonardo’s St Anne and Belle Ferronnière, and his current PhD investigations on Leonardo’s sfumato technique at the École Pratique des Hautes Études in Paris, to demonstrate the threats presently facing the Mona Lisa in a museum conservation system that he considers inadequate to preserve the masterpiece in the event of it being cleaned at the Louvre.

9.55-10.10: Ann Pizzorusso, “Leonardo’s Geology: The Authenticity of the Virgin of the Rocks”

Ann Pizzorusso (US) is a professional geologist and a Renaissance scholar whose work focuses on Leonardo da Vinci as a geologist. She has written numerous scholarly articles on Leonardo and his students, and the artists who preceded and followed him, analyzing the use of geology in their works. Her landmark article, “Leonardo’s Geology: The Authenticity of The Virgin of the Rocks” compared the two versions of the paintings. Demonstrating geology as a diagnostic tool – which was in fact Leonardo’s trademark – she will attribute only one of the two versions to Leonardo. Her new, four gold medals-winning book, Tweeting Da Vinci, discusses how the geology of Italy has influenced its art, literature, religion, medicine.

10.10-10.30: Discussion/Questions: – Irina Tarsis, Center for Art Law, Moderator

10.30-11.00: COFFEE

11.00-11:15: Segolene Bergeon-Langle, “Can science deliver its promises to art?”

Segolene Bergeon-Langle (FR), France’s Honorary General Curator of Heritage, is both a scientist and an art historian. A former Head of Painting Conservation in the Louvre and the French National Museums, and a former Chair of the ICCROM Council (Rome), she is presently a member of the Louvre’s preservation and conservation committee. She will discuss various restoration cases showing how scientific analysis can fail properly to understand painters’ techniques and the deterioration of paint layers when questions are inadequately framed or when the interpretation of scientific reports is inadequate. Such difficulties can be overcome when connoisseurs themselves ask for scientific analysis to clarify some problem they have encountered, or when they can examine technical reports together with their scientific partners so as to avoid otherwise possible misinterpretations.

11.15-11.30: Michel Favre-Felix, “Overlooked Witnesses: The Testimony of Copies”

Michel Favre-Felix (FR) is a painter, the president of ARIPA (association for the respect of the integrity of artistic heritage), the director of the review Nuances, and the 2009 recipient of the ArtWatch International Frank Mason Prize, will present two restoration cases, studied from the French Museums’ scientific files, illustrating how restorations fail by not heeding the testimony of historical copies. He will stress the importance of disciplined arguments and of expert guidance from art historians, in a critical approach, rather than as the endorsement of “discoveries” claimed during restorations by restorers. His cases will demonstrate how successive restorations can impose fresh and compounding misrepresentations on art when supposedly correcting previous errors.

11.30-11.45: Kasia Pisarek, “How reliable are today’s attributions in art? The case of “La Bella Principessa” examined.”

Kasia Pisarek (Poland/UK), an independent art historian and research specialist on attributions, took an MA at the Sorbonne and a PhD at the University of Warsaw. Her doctoral dissertation “Rubens and Connoisseurship ~ On the problems of attribution and rediscovery”, identified many recently fallen Rubens attributions. She will set out a number of interlocking aesthetic, art historical and technical arguments against the recently claimed attribution to Leonardo of the drawing “La Bella Principessa”, which work appeared anonymously and without provenance in New York in 1998. Her findings were published in the June 2015 Artibus et Historiae.

11.45-12.15: Discussion/Questions: Irina Tarsis, Center for Art Law, Moderator

12.15-1.15: LUNCH

Part II: Righting the Record – Diverse Experts as Authority

1.15-1.20: Introduction: Tatiana Flessas, Cultural Heritage Law, LSE Law, Moderator

1.20-1.35: Brian Allen — “Throwing the baby out with the bathwater – the Demise of Connoisseurship since the 1980s.”

Brian Allen (UK) is a former Director of Studies at the Paul Mellon Centre for Studies in British Art and is now Chairman of the London Old Master dealers Hazlitt Ltd. He will speak about the gradual demise of connoisseurship in academic art history (especially in the UK) over the past three decades and will consider the effect of this on the study of art history and the art market. Up to the early 1980s few questioned the importance for young art historians of acquiring the skills to determine authorship but as the discipline of art history evolved from its amateur roots in Britain so too did a determination to adopt the theoretical principles of other areas of study. Only now are we witnessing the consequences of this change of emphasis.

1.35-1.50: Peter Cannon-Brookes, “Reconciling Connoisseurship with Different Means of Production of Works of Art”

Peter Cannon-Brookes (UK) turned from natural sciences to art history and has been active as a museum curator with strong interests in conservation and security. Connoisseurship has been undermined by the decay of museum-based pre-Modern Movement scholarship leading to the growing corruption of reference collections and of connoisseurship enhanced by the detailed study of them. Can the systems of stylistic analysis evolved from the 1940s and social anthropology be reconciled with the actual processes of production of works of art throughout the ages? The business models adopted by Raphael, El Greco and Rubens are by no means exceptional, and the evident disdain of Rodin for those prepared to pay high prices for indifferent drawing-room marble versions of his compositions, encourage re-evaluation of connoisseurship as an essential tool.

1.50-2.05: Charles Hope, “Demotion and promotion: the asymmetrical aspect of connoisseurship”

Charles Hope (UK) is a former Director of the Warburg Institute and will discuss the tension that exists between connoisseurship as a type of expertise acquired by long experience and as an activity based on the use of historical evidence and reasoned argument. Will claim that, in practice, these two aspects are often in contradiction to one another, and that many connoisseurs have been unable or unwilling to provide clear arguments about how they have reached their opinions. Too often, judgements about authorship are decided by appeals to authority, and almost by vote, rather than by evidence.

2.05-2.20: Martin Eidelberg, “Fact vs. Interpretation: the Art Historian at Work”

Martin Eidelberg (US), professor emeritus of art history at Rutgers University, will discuss the reliability and fallibility of provenance and scientific analysis of pictures in determining the authenticity of paintings. Using case histories that he has gathered from his research in preparing a catalogue raisonné of the paintings of Jean Antoine Watteau (1684-1721), he will consider whether such supposedly factual data is reliable, or whether it is subjective and open to the interpretation of scholars.

2.20-2.40: Discussion/Questions: Tatiana Flessas, Cultural Heritage Law, LSE Law, Moderator

2.40-2.55: Robin Simon, “Owzat! The great cricket fakes operation”

Robin Simon (UK) is Editor of The British Art Journal and Honorary Professor of English, UCL. Recent books include Hogarth, France and British Art and (with Martin Postle) Richard Wilson and the Transformation of European Landscape Painting. He will report his discovery (in 1983) that many of the paintings depicting cricket in the MCC collection at Lord’s were fakes, most of them made by one person between 1918 and 1948 but purporting to date from the 16th century to the 20th. They had been presented to MCC by Sir Jeremiah Colman (of the mustard family) who acquired them from a variety of agents and dealers. It is quite a tale and turns, among other things, upon an ingenious manipulation of provenance.

2.55-3.10: Anne Laure Bandle, “Sleepers at auction: Boon or bane?”

Anne Laure Bandle (CH) is guest lecturer at the LSE, director of the Art Law Foundation, and a trainee lawyer at the law firm Froriep in Geneva. She wrote a PhD in law on the misattribution of art at auction and more specifically on the sale of sleepers. She will discuss the creation of sleepers at auction by means of different cases, and focus on the attribution process of auction houses and their liability when selling a sleeper.

3.10-3.25: Elizabeth Simpson, “Connoisseurship: Its Use, Disuse, and Misuse in the Study of Ancient Art”

Elizabeth Simpson (USA) is a professor at the Bard Graduate Center in New York, NY; a consulting scholar at the University of Pennsylvania Museum of Archaeology and Anthropology in Philadelphia, PA; and director of the project to study and conserve the collection of wooden objects excavated from the royal tumulus burials at Gordion, Turkey.She will address the use and misuse of connoisseurship in the study of ancient art, the scholarly and methodological divides between archaeology and art history, and the current trend away from connoisseurship in the study of ancient art and artifacts. She will also show how connoisseurship is used to fabricate narratives for looted objects in order to validate unprovenienced works in private and museum collections.

3.25-3.45: Round table discussion: Tatiana Flessas, Cultural Heritage Law, LSE Law, Moderator

3.45-4.15: TEA

Part III: Wishful Thinking, Scientific Evidence and Legal Precedent

4.15-4.20: Intro by Session Moderator, Charles Hope.

4:20-4.35: Irina Tarsis, “Reputation is no Substitute to Due Diligence: Lessons from the closure of the Knoedler Gallery (1857-2011) ”

Irina Tarsis (USA), is an art historian and an attorney based in Brooklyn, NY. Founder and Director of Center for Art Law, Ms. Tarsis is an author of multiple articles on the subject of restitution, provenance research, book history and copyright issues. With degrees in International Business, Art History and Law, in her practice Ms. Tarsis focuses on ownership disputes surrounding tangible and intangible property. She will discuss the history of the Knoedler Gallery that closed after more than 160 years in business having sold a cache of misattributed forgeries. Short of a dozen lawsuits were brought against the principles and staff of the Gallery for selling works attributed to the blue chip artists. Ms. Tarsis will discuss the responsibilities of dealers, collectors and art advisors to their clients and the scholarship when handling art in business transactions.

4:35-4.50: Nicholas Eastaugh, “The Challenge of Science: Does ‘Fine Art Forensics’ Really Exist?”

Dr Nicholas Eastaugh (UK), Founder/Director, Art Analysis and Research Ltd., London, originally trained as a physicist before going on to study conservation and art history at the Courtauld Institute of Art, London, where he completed a PhD in scientific analysis and documentary research of historical pigments in 1988. Since 1989 he has been a consultant in the scientific and art technological study of paint and paintings. A frequent lecturer, he is also a Visiting Research Fellow at the University of Oxford. In 1999 he co-founded the Pigmentum Project, an interdisciplinary research group developing comprehensive high-quality documentary and analytical data on historical pigments and other artists’ materials. This led to the publication of The Pigment Compendium in 2004, which quickly became a standard reference text in the field. In 2008 he identified the first of the forgeries to be recognised as by Wolfgang Beltracchi, the now infamous ‘Red Painting with Horses’.

4.50-5.05: Megan Noh, “Trends in Authentication Disputes”

Megan E. Noh (USA) is the Associate General Counsel of Bonhams, one of the world’s largest international auction houses. Based in the New York office, Ms. Noh practices in a global hub for art transactions, and is uniquely poised to observe the numerous transactions conducted by Bonhams which require its specialists’ assistance with the authentication process, as well as the growing body of caselaw and legislative efforts emerging from this key jurisdiction. Ms. Noh’s presentation will cover trends in authentication disputes, including the cessation of artists’ foundations and authentication boards to issue opinions confirming attribution, as well as increased litigation and reliance of parties on scientific evidence and testimony. She will also elucidate the position of auction houses as a liaisons or “middlemen” in this process, facilitating the flow of information as between collectors (sellers and buyers) and third party authenticators.

5.25-50: Final Discussion/Questions: Charles Hope, Moderator.

5.50-5.55: Closing Remarks: Irina Tarsis, Center for Art Law.

6.00-7.30: RECEPTION


The Spring 2015 ArtWatch UK Journal

The forthcoming ArtWatch UK members’* Journal examines restoration problems; betrayals of trust; the role of conservators in the illicit trade in antiquities; and, the escalating commercial scramble by museums that is disrupting collections and putting much of the world’s greatest art at needless risk.

* For membership details, please contact Helen Hulson, Membership Secretary at hahulson@googlemail.com

ArtWatch UK Journal No. 29

Preview ~ Journal No. 29’s Introduction:

MUSEUMS, MEANS and MENACES

Museums once provided havens for art and solace to visitors. They were cherished for their distinctive historically-given holdings and their staffs were answerable to trustees. Today they serve as platforms for conservators to strut their invasive stuff and as springboards for directors wishing to play impresario, broadcaster or global ambassador. Collections that constituted institutional raisons d’être, are now swappable, disrupt-able value-harvesting feasts. Trustees are reduced to helpmeet enablers of directorial “visions”. No longer content to hold display and study, museums crave growth, action, crowds and corporately branded income-generation. For works of art, actions spell danger as directors compete to beg, bribe and cajole so as to borrow and swap great art for transient but lucrative “dream” compilations. Today, even architecturally integral medieval glass and gilded bronze Renaissance door panels get shuttled around the international museum loans circus.

Above, a window that depicts Jareth – one of no fewer than six monumental windows depicting the Ancestors of Christ that were removed from Canterbury Cathedral (following “conservation”) and flown across the Atlantic to the Getty Museum, California, and then on to the Metropolitan Museum, New York. (For a report on how such precious, fragile
and utterly irreplaceable artefacts become part of the international museums loans and swaps circuit, see How the Metropolitan Museum of Art gets hold of the world’s most precious and vulnerable treasures.)

Above, top, one of Ghiberti’s Florence Baptistery doors (which were dubbed “The Gates of Paradise” by Michelangelo) during restoration. Above, one of three (of the ten) gilded panels from the doors that were sent from Florence to Atlanta; from Atlanta to Chicago; from Chicago to the Metropolitan Museum, New York; from New York to Seattle; and, finally, from Seattle back to Florence. To reduce the risk of losing all three panels during this marathon of flights, they were flown on separate airplanes.

In such an art-churning milieu this organisation’s campaigning becomes more urgent. Fortunately, our website (http://artwatch.org.uk/) has increased our following fifty-fold – and see, for example: “How the Metropolitan Museum of Art gets hold of the worlds most precious and vulnerable treasures”. Here, we publish an abridged version of the fifth lecture given in commemoration of ArtWatch International’s founder, Professor James Beck, and examine persisting betrayals of trust, errors of judgement and historical reading, problematic “conservations”, and questionable museum conservation treatments of demonstrably looted antiquities. For these we warmly thank Martin Eidelberg, Alec Samuels, Alexander Adams, Einav Zamir, Selby Whittingham and Peter Cannon-Brookes. We commend two books, one for its freshness of voice, the other for a pioneering combination of high-quality images and scholarly texts in coordinated print and online productions. We also reproduce our online archive and related letters to the press.

Last July the outgoing chairman of the British Museum’s board, Niall Fitzgerald, disclosed in the Financial Times that because the director, Neil MacGregor, “obviously isn’t going to stay for ever” it was right that a new chairman [in the event a long-standing BM trustee and former editor of the Financial Times, Sir Richard Lambert] should lead the search for his successor. In December – and with levels of secrecy that would have thrilled his one-time mentor at the Courtauld Institute, Anthony Blunt – MacGregor dispatched one of the most important free-standing Parthenon sculptures, the carving of the river god Ilissos, to the Hermitage Museum in St. Petersburg. In lending Ilissos to St Petersburg just months after Russian troops had annexed part of Europe and Russian-armed separatists in Eastern Ukraine had brought down a Malaysian Airlines Boeing with a loss of 298 lives including around 100 children (see cover), the British Museum conferred an institutional vote of confidence in Putin’s Russia at a time when the West has mounted economic sanctions against his incursion and his continuing de-stabilisation of Eastern Europe. Moreover – and in a gratuitously provocative manner – by subjecting one of its most precious and controversially held works to needless and inherent risks, the British Museum presented its institutional a*** to everyone in Greece who is seeking to re-unite all of the surviving Parthenon carvings. On 9 December 2014 we protested in a letter to the Times (“Where should the Elgin Marbles be housed?” – see p. 29) that the action had gravely weakened the case for the British Museum retaining its controversially held “Elgin Marbles” and that it constituted a failure of imagination and a dereliction of duty on the part of the museum’s trustees.

Above, the carved figure of Ilissos, as displayed (top) at the British Museum, in the context of the surviving group of free-standing figures from the West pediment of the Parthenon; and, (centre and above) as displayed when on loan to the Hermitage Museum, St. Petersburg.

Above, details of the back of Ilissos, (as photographed by Ivor Kerslake and Dudley Hubbard for the 2007 British Museum book, “The Parthenon Sculptures in the British Museum”, by Ian Jenkins, a senior curator at the museum) showing the faultline in the stone that runs through the entire figure.

Perhaps the provocative loan was a piqued riposte to Mr and Mrs George Clooney’s attempts to have the British Museum’s Parthenon sculptures returned to Athens? Or, perhaps, simply a flaunting confirmation that nothing within the museum’s walls is now considered sacrosanct. In any event, 5,000 objects were put at risk (see below) last year in pursuit of MacGregor’s desire to transform the great “encyclopaedic” museum into a glorified lending library – or, as he puts it, into “a universal institution with global outreach”. The loan to Russia breached a two centuries old honouring of the original terms of purchase which required the Parthenon carvings collection to be kept intact. We now learn that those sculptures are to be further denuded with three more loan requests under consideration. We have supported the British Museum’s retention of the Elgin Marbles for over a decade, in print and in debates in New York, Athens and Brussels. (See Journals 19, 20, 25 and 26.) A key consideration was the relative safety of the sculptures in London and Athens. This latest policy reversal tips that balance in favour of Athens and thereby blows the moral case for the retention of the sculptures in London. It makes it impossible for us to maintain our previous support.

Such was the secrecy of this operation that the British Government was informed of it only hours before the story broke in a world-exclusive newspaper report. Under its new chairman the museum’s board proved supine, authorising the manoeuvre despite its own concerns over the sculpture’s safety. Officially, the museum betrays an almost delusional insouciance on the inherent risks when fork-lifting, packing, fork-lifting, lorrying, fork-lifting, flying, fork-lifting, lorrying, fork-lifting, unpacking – twice-over – an irreplaceable world monument on a single loan. Art handling insurers testify that works are at between six and ten times greater risk when travelling. Against this actuarial reality, the museum’s registrar variously boasted that “museums are good at mitigating risk”; that the loan had needed undisclosed insurance; and that, if intercepted by thieves, “they would be unable to sell it”. The source of this institutional confidence is unclear. As we reported in 2007 (Journal 22, p.7), in 2006 the British Museum packed 251 Assyrian objects – including its entire collection of Nimrud Palace alabaster reliefs and sent them in two cargo jets to Shanghai, with stop-overs in Azerbaijan, thus subjecting the fragile sculptures to four landings and take-offs. On arrival in Shanghai the recipient museum’s low doorways and inadequate lifts required the crated sculptures to be “rolled in through the front door”. Three crates remained too large and had to be unpacked “to get a bit more clearance”. One carving was altogether too tall and “we had to lay him down on his side” to get him in, the British Museum’s senior art handler said. It was then found that the museum’s forklift truck was unsafe (and needed to be replaced), and, that “a few little conservation things had to be done”.

When the resulting quid pro quo loan of Chinese terracotta figures was sent to the British Museum the following year, two dozen wooden crates were held for two days at Beijing airport because they were too big to enter the holds of the two cargo planes that had been chartered. When the crated sculptures arrived at the British Museum, they were also found to be too big to pass through the door of the Reading Room (from which Paul Hamlyn’s gifted library had been evicted – then temporarily, now permanently). The door frame was removed but three cases were still too big. These had to be unpacked outside the temporary exhibition space in the Great Court. The “temporary” misuse of the Reading Room became a permanent fixture until the new £135m (on a £70-100m estimate) exhibition and conservation centre in the antiseptic style of a Grimsby frozen food factory was opened last year (see back cover). Having insultingly evicted the Paul Hamlyn art library, it is now being said that the Reading Room “lacks a purpose” and that Mr MacGregor is musing on possible alternative uses to … reading books in a fabulous library previously occupied by national and international literary and political luminaries. One of these alternatives would be to raid the museum’s own diverse and encyclopaedic sculpture collections so as to tell a singular, MacGregoresque multi-cultural world story. Were he to be indulged in this (English Heritage witters alarmingly that the Reading Room’s Grade 1 listing does not necessarily preclude changes of uses), the director would leave a monument to himself achieved by subverting the historically-resonant, listed purpose made classical building in order to patronise and spoon-feed future visitors who might better have made their own judgements on the relative merits of the artefacts held in the museum’s various assembled civilisations.

If the present lending policies are not curtailed a further monument to MacGregor’s reign will be found in the art handling facilities of the new “improbably large” conservation and exhibitions centre. These are such that a crated elephant would now “arrive elegantly, the right way up”. What – surprisingly – did not arrive was the exhibition of treasures from the Burrell Collection that is being sent on a fund-raising world tour. This tour was made possible by the overturning in the Scottish Parliament of the terms of Burrell’s bequest which prohibited foreign loans. The overturning was made with the direct support and participation of Neil MacGregor and the British Museum was to have been the tour’s first stop. (Only three voices against the overturning were heard in the Scottish parliamentary proceedings: our own; the Wallace Collection’s academic and collections director, Jeremy Warren; and, the National Gallery’s director, Nicholas Penny, who attacked the “deplorable tendency” for museum staffs to deny the grave risks that are run when works of art are transported around the world.) As we reported online (“A Poor Day of Remembrance for Burrell”, 11 November 2013, Item: MR MACGREGOR’S NO-SHOW AT THE SCOTTISH PARLIAMENT HEARINGS), after a reproach in the Scottish Parliament, Mr MacGregor replied: “It was suggested by the Convener on 9th September (column 33) that as the British Museum might be involved in helping organise the logistics of a possible loan, and as works from the Burrell Collection might be shown at the British Museum, I might find myself in a position of conflict of interest. I think I can assure the Convenor that this is not so. The British Museum would not profit financially from either aspect of such co-operation with our Glasgow colleagues…” In the event, the first stop of the world tour was at Bonhams, the auctioneers, not the British Museum.

Michael Daley. 1 March 2015.


wibble!