The krater bought by the Metropolitan was complete, and was considered by Hoving to be too large, even in fragments, to have fit into a hatbox. What makes the Euphronios krater so exceptional? It was bought by the Metropolitan Museum of Art in 1972 for the then record-breaking price of $1 million, and is now thought to have been excavated illegally in Italy in 1971. These negotiations granted the return of the krater in exchange for long-term loans of comparably valuable Italian pieces and the rights to display them. Hoving, Thomas (2001e), ‘Super art gems of New York City: The “Hot Pot” VI – The old switcheroo’, artnet.com. Medici then sold the krater to Robert Hecht, an American antiquities dealer, who in turn sold it to the Metropolitan Museum of Art for $1 million in 1972.After the discovery of the krater’s true provenance, the Italian government began requesting the return of the artifact to its homeland. The Euphronios krater, a renowned red-figured Greek vase from the sixth century B.C., is widely believed to have been illegally excavated in 1971 from an Etruscan tomb near Rome. First was a letter dated 10 July 1971, written by Sarrafian to Hecht, in which Sarrafian declared that he would deliver the vase to Hecht in expectation of a final sale price of $1 million.
“Repatriation of Greek Art Treasures.” The krater arrived back in Italy on 18 January 2008, where it was put on display with other returned objects at the exhibition Felch, Jason and Frammolino, Ralph (2005), ‘Italy says it’s proven vase at Met was looted’, Gage, Nicholas (1973a), ‘How the Metropolitan acquired “the finest Greek vase there is”’, Gage, Nicholas (1973b), ‘Farmhand tells of finding Met’s vase in Italian tomb’, Van Gelder, Lawrence (1973), ‘Odyssey of the vase: Contradictions and conflicts’, Hoving, Thomas (2001a), ‘Super art gems of New York City: The grand and glorious “Hot Pot” – Will Italy snag it?’, Hoving, Thomas (2001b), ‘Super art gems of New York City: “Hot Pot” part II – Unexpectedly, the money source opens up’, artnet.com.
It contains two accounts of the Sarpedon Euphronios: the first admitting to the fact that Hecht had bought the krater from Medici and that it had been excavated illegally in 1971; the second reiterating the Sarrafian provenance as provided to the Metropolitan. The krater was extremely desirable as it is one of the few known examples of work by the ancient artist Euphronios, dating from 515 BCE. The tombaroli are said to have sold the krater to Hecht claimed to be acting on ten percent commission as agent for the krater’s owner, whom he identified as Lebanese collector and dealer Dikran Sarrafian (Hoving 2001b).
Trafficking Culture - Researching the global traffic in looted objectsThe find spot and early provenance of the Euphronios krater have never been firmly established. Gage 1973b, 1973c; Gelder 1973; Hoving 2001d, 2001e). In 1971, an ancient Greek krater, a vase-like object used for mixing water and wine, was excavated from an Etruscan tomb near Rome and sold to the Metropolitan Museum of Art for $1 million the following year. However, there was no denying that the sale of the krater was achieved illegally, as a UNESCO cultural property law created in 1970 at the UNESCO Convention in Paris deemed exporting any ancient object discovered in the ground of a country’s territory to be criminal without a permit. They recovered a handwritten ‘memoir’ of Hecht’s, setting out an autobiographical account of his life in the antiquities trade. In 2005, Italy began a public campaign in an attempt to reclaim looted Italian objects from various foreign museums. If Sarrafian did indeed possess a Euphronios krater, as the evidence collected by the Metropolitan suggests, then its identity and whereabouts remain unknown.Matters rested there until the Italian investigations of Giacomo Medici and Robert Hecht gained momentum though the 1990s and early 2000s. The Metropolitan’s legal team also collected affidavits from Bürki, confirming that he had received a fragmentary krater from Sarrafian in August 1971, and a photographer in Basel who had seen the fragments in September 1971 (Gage 1973c; Hoving 1993: 333; Hoving 2001d). Kennedy, Randy and Eakin, Hugh (2006), ‘Met agrees tentatively to return vase in ’08’, Mellow, James (1972), ‘A new (6th Century B.C.) The campaign inspired debate over the fate of the Euphronios Krater and raised questions surrounding the repatriation of art objects. The Euphronios (Sarpedon) krater is a red-figure calyx krater made in Athens circa 515 BC, signed by Euxitheos as potter and Euphronios as painter. In 1971, an ancient Greek krater, a vase-like object used for mixing water and wine, was excavated from an Etruscan tomb near Rome and sold to the Metropolitan Museum of Art for $1 million the following year. They obtained documents from Sarrafian confirming that he had received payment for the krater of $909,000 in Swiss francs on 25 October 1971. On 16 February 2001, the Carabinieri raided Hecht’s apartment in Paris. Euphronios’ work contains the mythological figure of Zeus’ son, Sarpedon, being carried by Hypnos (Sleep) and Thanatos (Death) with the help of Hermes (The Messenger), all rendered in the red-figure style. They also obtained testimony from a clerk who had seen the vessel in fragments with Sarrafian in Beirut in the early 1960s.
Sarrafian had been killed in a car crash in 1977 (Hoving 2001d), and so was unavailable for further comment. Also known as: Hot Pot. The opposite side of the krater features warrior figures in the midst of preparation for battle.Although sold through a dealer, skepticism quickly formed around the krater’s provenance and many believed that it had been excavated illegally and smuggled. Although the Euphronios Krater was considered to be one of the most important pieces of art ever acquired by the Metropolitan Museum of Art and it was witnessed by millions of visitors, in 2008 the Met reached a deal with the Italian government.
Newman subsequently signed an affidavit confirming this statement (Hoving 1993: 335-6; Hoving 2001d).Thus by the end of 1973, the question of provenance seemed settled in favour of the Hecht/Metropolitan account of Sarrafian’s ownership, and thus legitimate provenance. Two photographs were discovered in Medici’s Geneva storerooms, apparently taken in May 1987, one showing Medici standing next to the Euphronios krater on display in the Metropolitan, the second showing Hecht in a similar pose (Watson and Todeschini 2007: 107).
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