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“A riveting story of tomb robbers and antiquities smugglers, high-stakes auctioneers and the princely chiefs of the world’s most prestigious museums….A terrific read, from start to finish.”
—James L. Swanson, New York Times bestselling author of Manhunt
An Oxford-trained archaeologist and award-winning journalist based in Rome, Vernon Silver brings us The Lost Chalice, the electrifying true story of the race to secure a priceless, 2,500-year-old cup depicting the fall of Troy—a lost treasure crafted by Euphronios, an artist widely considered “the Leonardo Da Vinci of ancient Greece.” A gripping, real life mystery, The Lost Chalice gives readers a behind-the-scenes look at the inner workings of great museums and antiquities collections—exposing a world of greed, backstabbing, and double-dealing.
- Sales Rank: #324313 in eBooks
- Published on: 2009-05-28
- Released on: 2009-06-02
- Format: Kindle eBook
From Publishers Weekly
Focusing on a piece by the renowned ancient Greek vase painter and potter Euphronios, archeologist and journalist Silver presents a captivating tale of ancient art as a modern hot commodity. Euphoronius' "lost" kylix (chalice) mysteriously reappeared in the early 1970s after 2,400 years, it was purchased at auction in 1990 by a man identified only as a "European dealer," and again disappeared from public view. Silver deftly traces the intricate path of the chalice from Cerveteri, Italy, where robbers unearthed the Greppe Sant'Angelo tomb complex in 1971. The multifaceted story is grippingly revealed by Silver, who writes with verve and aplomb, along with the tale of a companion krater, or vase, by Euphronios, long housed at the Metropolitan Museum of Art and returned to Italy in 2008 under a landmark arrangement. Silver's telling is infused with an infectious curiosity about the illicit art trade and an equally infectious appreciation of the art itself, adding up to a fascinating look at "the dealings of tomb robbers, smugglers, wealthy collectors, ambitious archaeologists, and corrupt curators."
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Review
"Vernon's sharply rendered account is engrossing. A densely packed, dizzyingly detailed tale of art and espionage."
--Kirkus Reviews --Kirkus Reviews
"The Lost Chalice describes the seedy underworld of the antiquities trade in such vivid detail that one can almost smell the fresh earth of a pillaged archeological site."
--Barbie Latza Nadeau, "The Daily Beast"
Review
"A captivating tale of ancient art as a modern hot commodity... Silver's telling is infused with an infectious curiosity about the illicit art trade and an equally infectious appreciation of the art itself."
--Publishers Weekly
Most helpful customer reviews
25 of 29 people found the following review helpful.
On the Trail of Dubiously Documented Antiquities. But Only Say It Once, Please.
By mirasreviews
"The Lost Chalice" takes the reader behind the scenes of the illicit trade in antiquities, following the journey of several pieces of pottery unearthed from an illegal dig near Cerveteri, Italy in 1971 through the black market, the auction houses, and eventually back to Italy over the course of 37 years. The "chalice" of the title is a kylix (a squatty cup with two handles and a pedestal, used for drinking wine) that was decorated and signed by Athenian artist Euphronios circa 500 BC, then buried by Etruscans in a tomb in the Greppe Sant'Angelo area. The artwork on the kylix depicts the death of Sarpedon, Zeus's mortal son, in the Trojan War. Euphronios did several known pieces on the Sarpedon theme, including a much more valuable krater (a large bowl for mixing wine and water, shaped like a vase), painted after the kylix and purchased by the Metropolitan Museum of Art.
Vernon Silver follows, or attempts to follow, the paths of three or four Sarpedon pieces by Euphronios: two kraters and possibly two kylixes. The "lost chalice" is the least of them, but it repeatedly disappeared from public view and passed through many hands. It's not even certain how many there are, so the kylix holds more mystery than the other pieces. Silver begins in 1990 at Sotheby's, where the Sarpedon kylix was available for purchase for the first time since 1980, when it had been acquired by Bunker Hunt -of the Hunt brothers who cornered the silver market in the 1980s. This time, the kylix is purchased by a mysterious European dealer who outbids the Met's representative, removing the kylix from public view once again.
The author then takes us back in time to the Greppe Sant'Angelo dig in 1971 and moves forward from there, though the antiquities dealers who allegedly placed the illicit items on the market -Italian Giacomo Medici and American Robert Hecht, the much-publicized purchase of the Sarpedon krater by the Met's curator of Greek and Roman antiquities Dietrich von Bothmer, Hunt's acquisition of the kylix, its display at the Getty Museum, the appearance on the scene of another, fragmented Sarpedon krater, and Robert Hecht's efforts to obscure the pieces' provenance, up to the point at which we started, Sotheby's 1990 auction, where the pieces change hands again. Then it is on to the Italian Carabinieri's investigation of the traffic of illicit antiquities and their efforts to return the pieces to Italy and the author's own investigation into the whereabouts of the kylix.
The problem is that the story of these Sarpedon pieces, fascinating as it may be, is told at least three times: once as the events play out, again as the Carabinieri conduct interminable investigations followed by endless prosecutions and deal-making, and again as the author gets into the act and makes the acquaintance of Giacomo Medici, whom he interviewed for this book. "The Lost Chalice" is not dense, but it is a plodding, repetitive read. I don't blame the author. Publishers too often try to get 300 pages out of a subject that clearly merits half that, so the pertinent information is drowned in filler. The antiquities market is full of intrigue. One cannot help but notice that the Carabinieri were slow, and the dealers had an odd tendency to incriminate themselves, but readers can draw their own conclusions as to who is right, wrong, or in the vast gray middle.
19 of 22 people found the following review helpful.
Chain of classy crooks
By krebsman
As an archaeology student who has recently studied the Etruscans and Euphronius, I was eager to read this book. I was not disappointed. Most countries that contain antiquities have enacted laws in recent decades prohibiting their sale and export. However, certain goods are such prized commodities that collectors will pay dearly for items of questionable provenance, making for a flourishing black market in antiquities. My professor had talked about looting and tomb robbing in class. It's extremely destructive because an artifact tells us virtually nothing without its context. So I was aware that the practice went on, but I don't think I had really thought about the nuts and bolts of such operations. Silver's book gives a detailed account of how extensive the network is. At the bottom are the tomb robbers, who are mostly simple men who need some extra money. Then there are the shady speculators who buy the artifacts from the tomb robbers and create an artificial provenance for them. They then form partnerships with men who have entree to the big museums and great private collectors, some of whom will want an artifact so badly that they are content to overlook some irregularities.
Although the title of the book is THE LOST CHALICE, most of the book is really concerned with the Euphronius krater that notoriously wound up in the Metropolitan Museum of Art. This is quite a story and Silver tells it very well. Even though there are a lot of convoluted relationships, Silver sets it all out very clearly, all the while maintaining the suspense and keeping the reader interested. For me the real hero of the book is the Italian government, which despite its volatility, managed to hang in there for decades and get the job done.
I found THE LOST CHALICE very entertaining, but I also felt that I learned a lot, too. Four stars.
8 of 8 people found the following review helpful.
Could Have Been More Interesting
By Argman
The premise of the book (The shady side of international antique market) is a very interesting one. The book is also informative with regard to the ancient Greek pottery art and technique. I have seen many of these objects in different museums and never really appreciated them as I should have. Reading this book makes me want to revisit all those beautiful pieces to which, I should have paid more attention.
The book however, could have been written or edited better. I found it rather jumpy, from one time phase to another, one topic to another, all written in short segments. I would have enjoyed longer and more focused segments. There are also too many officials mentioned here, mostly from the Italian police or judiciary system, who at the end do not play a very major rule in the story or could have been referred to by their professional titles. I do not speak Italian and though a beautiful language, having the names of so many archeologists, police officials, museum officials, lawyers, judges, ministers,... just was confusing.
In short, the author is really an archeologist and not a writer. A competent editor could have really helped him express himself much more effectively.
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