Cover of 1909 Pearson’s Magazine featuring the Unlucky Mummy
Just in time for Halloween, this spooky entry in our Provenance Series explores the strange case of the “Unlucky Mummy,” an ancient Egyptian artifact held by the British Museum since 1889 and rumored to have played a part in several tragic events during the last 150 years. The name of the object is misleading, as it is not an actual mummy, but rather a painted wooden “mummy board” or inner coffin lid depicting a woman of high rank. Mummy boards were placed on top of mummies, covered in plaster, and decorated elaborately with protective symbols of rebirth. The Unlucky Mummy was discovered in Thebes, an ancient hub for religious activity and the site of a renowned necropolis. It dates back to 950-900 B.C.E. While the lid does contain hieroglyphic inscriptions, these only refer to religious phrases; the identity of the deceased remains unknown. In the early 1900s, British Museum specialists believed that she may have been a temple priestess or a member of the royal family, but this was never confirmed by supporting evidence.
According to the museum’s records, the mummy board was originally acquired by an English traveler in Egypt during the 1860s-1870s. The mummy itself was most likely left in Egypt, since it has never formed part of the British Museum’s collection. The traveler was part of a group of Oxford graduates touring Luxor, who drew lots to haggle over the coffin lid. All four companions suffered unfortunate fates soon after this purchase. One of the men disappeared into the desert, one was accidentally shot by a servant and had his arm amputated, one lost his entire life’s savings, and one fell severely ill and was reduced to poverty. The mummy board then passed to the sister of one of the men, Mrs. Warwick Hunt, whose household became plagued by a series of misfortunes. When Mrs. Hunt attempted to have the coffin lid photographed in 1887, the photographer and porter both died, and the man hired to translate the hieroglyphs committed suicide. Clairvoyant Madame Helena Blavatsky allegedly detected an evil influence emanating from the mummy board, and convinced Mrs. Hunt to dispose of the object by donating it to the British Museum. Yet tales of the curse would follow. In 1904, journalist Bertram Fletcher Robinson published an article in the Daily Express titled “A Priestess of Death,” detailing the mummy board’s grisly exploits. When he died suddenly three years later, this was attributed to the Unlucky Mummy’s vengeance from beyond the grave. Even Sir Arthur Conan Doyle, the creator of Sherlock Holmes and avowed spiritualist, claimed that the mummy’s spirit had used “elemental forces” to strike down Robinson.
One of the more sensational stories is that the mummy board was on the SS Titanic in 1912 and caused the ship to sink. However, this is only a rumor; the Unlucky Mummy has been on public display since the 1890s, except during WWI and WWII when it was placed in storage for safekeeping. It first left the British Museum in 1990 for a temporary exhibition at the National Gallery of Australia, and it made it back to London safe and sound. In fact, much of the mummy’s malevolent backstory was invented by English editor William T. Stead, who possessed a fascination with the supernatural. Ironically, Stead perished on the Titanic – but the Unlucky Mummy’s legacy lives on. It is allegedly responsible for multiple murders, illnesses, injuries, hauntings, eerie noises, flickering lights, and other suspicious activity.
For those who wish to see the Unlucky Mummy in person, it is currently located in Room 62 of the British Museum. Hopefully, its curse won’t follow you home…
The past couple of weeks have brought several positive developments for the protection of Greek cultural heritage at the national and international levels. First, the US Ambassador to Greece, Geoffrey R. Pyatt, and the Greek Minister of Culture and Sports, Lina Mendoni, signed a bilateral memorandum of understanding renewing protections for Greek cultural heritage imported into the US. This occasion marks the 10th anniversary of the original bilateral agreement between the US and Greece dedicated to combatting the illicit traffic of archaeological, ethnological, and ecclesiastical material, as well as the 200th anniversary of Greek independence. Ambassador Pyatt stated that by renewing the agreement, the US is maintaining its firm commitment to protecting these treasures from looting and trafficking and following the principles established in the 1970 UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property. These two nations are cooperating in attempts to protect and preserve humankind’s cultural heritage against a number of threats, including illicit trafficking.
Second, UNESCO’s Intergovernmental Committee for Promoting the Return of Cultural Property (ICPRCP) recently urged the British Museum to return the Parthenon Marbles. The Marbles’ worth is priceless, as they are an international treasure of great cultural and historical significance to the Greek people and all of humankind. The UNESCO Committee called on the United Kingdom to review its ongoing position (The British Museum has refused to entertain Greece’s repatriation demands and the museum has also rejected the possibility of a loan to Greece, although the museum has loaned the marbles in the past). The UNESCO Committee also recommended that the British Museum enter into discussions with Greece as the latter has “a valid and legal claim to demand the return of the sculptures to the place of their birth.”
The controversy over the marbles has been at a standstill for decades. Greece has opted for diplomacy rather than litigation in asserting its claim to the marbles, and the British Museum maintains that the United Kingdom obtained them legally. It remains to be seen whether UNESCO’s decision will be taken into consideration by the United Kingdom, but it is an encouraging step towards highlighting the importance of returning significant cultural heritage items to their countries of origin.
Amineddoleh & Associates LLC is proud to represent the Cultural Ministry of Greece in cultural heritage matters in the US, and we look forward to continued collaboration in order to effectively protect and preserve Greece’s rich cultural heritage, for both present and future generations. We remain dedicated to fighting the illicit traffic of antiquities and returning looted objects to their rightful owners.
The Chess Game, Sofonisba Anguissola (1555 – National Museum Poznań)
The Queen’s Gambit on Netflix has recently been credited with helping to fuel a chess renaissance. The series about an orphan with a preternatural mastery of chess features a beautiful wardrobe for its main protagonist, 1960s music, and high-stakes international tournaments. With the onset of winter and a second round of lockdown looming over many countries, people are turning to games – such as chess – for a respite. Sales of chess sets and accessories have skyrocketed as much as 215%, with interest mainly in wooden and vintage sets. Millions are subscribing to and playing matches on websites, breaking existing records.
However, chess’ popularity predates the current craze. For centuries, military strategists, royalty, children and others have enjoyed this board game, which is one of the oldest in the world. Chess is believed to have originated in northwest India before spreading along the Silk Road, eventually reaching Western Europe via Persia and Islamic Iberia. The oldest archaeological chess artifacts, made of ivory, were excavated in Uzbekistan and date to approximately 760 A.D. Chess has been depicted in numerous artworks, literature, and films, including a memorable match in the Harry Potter franchise and a painting by Sofonisba Anguissola (pictured above).
Lewis Chessman (Photo: British Museum)
Antique chess pieces are not only historically important, but also offer a fascinating glimpse into artistic, commercial, and cultural trends. The Lewis Chessmen, discovered in 1831, are possibly the finest known example of medieval European ivory chess pieces. They are believed to be the first chess pieces to depict bishops and they possess distinctly human forms. The set was discovered on the island of Lewis in Scotland, as part of a hoard containing 93 artifacts in total. The pieces date back to the 12th or 13th century, with 82 pieces forming part of the British Museum’s collection and 11 pieces held by National Museums Scotland. The chess pieces were likely made in Trondheim, Norway from walrus ivory and teeth. They exhibit many interesting details, such as bulging eyes and a rook (depicted as a standing soldier or “warder”) biting its shield like a Viking berserker. The pieces reflect the ties between Scandinavia and Scotland at the time the carvings were made. Interestingly, the Lewis Chessmen were among the first medieval antiquities acquired by the British Museum, and they have also been featured as #61 in the 2010 BBC Radio series A History of the World in 100 Objects.
As with all artwork and artifacts, provenance is extremely important. In fact, if may even be more important for chess pieces, which are portable in nature and thus prone to separation and forgery. It is rare for entire sets to survive intact; some pieces in circulation are even high-profile copies of masterpieces, such as the Metropolitan Museum of Art’s reproductions. The Met’s collection even includes copies of certain Lewis Chessmen. The Lewis pieces’ provenance prior to its discovery in 1831 is unknown, although they may have been the property of a merchant or a local leader, buried for safeguarding or for future trade with Iceland. In fact, there are conflicting accounts of their discovery. Supposedly, Malcolm MacLeod discovered the trove in a dune, exhibited the chess set for a brief period, and then sold the pieces to Captain Roderick Ryrie. Ryrie then exhibited the pieces at a meeting of the Society of Antiquaries of Scotland in April 1831, and the set was split up shortly after. Ultimately, the British Museum purchased the majority of the pieces for £84 on the recommendation of chess enthusiast Sir Frederic Madden. This proved to be a solid investment, as one of the chess set’s related pieces (a previously unrecognized warder) was sold in July 2019 at Sotheby’s for £735,000. It had been bought by an antiques dealer in Edinburgh for £5 fifty-five years before, and the dealer’s family had no idea of the object’s importance until the family submitted it for appraisal. The warder was described as “characterful” and as having “real presence” by Sotheby’s expert Alexander Kader.
Man Ray Chess Set
While the Lewis Chessmen are exceptional, they are not the only chess sets to have achieved fame. The Charlemagne Chess Set, currently held by the National Library of France in Paris, was made in Salerno, Italy in the late 11th century. It formed part of the treasury of the Basilica of Saint Denis and has unusual dimensions. The set is seen as symbolic, depicting the various roles of individuals in medieval society. Yet despite its name, it never belonged to Charlemagne. And unfortunately, only 16 pieces are left from the 30 inventoried in the 16th century. The Àger chess pieces are another unique example of the game, as they were crafted from rock crystal. Believed to have been made in Egypt, Iraq or eastern Iraq during the 9th century, they were deposited in the Àger monastery in present-day Catalonia, Spain during the 11th century. As the chess set has an Islamic origin, the pieces are not humans but rather present an abstract style with arabesque decorations. Finally, Surrealist artist Man Ray produced a modern design for a chess set inspired by everyday objects. These were then reduced to simple, semi-abstract forms: the knight was represented by a violin scroll, the bishop by a flask, and the king by an Egyptian pyramid. Reproductions of Man Ray’s are available to players at all price points.
We hope you have enjoyed this journey through the fascinating world of chess. Amineddoleh & Associates is proud to represent collectors in pursuing their creative passions, whether that is through the sale of artwork or by acquiring antique board games that display craftsmanship and historical value. Collectors should always remember to perform due diligence and consult experienced legal professionals when considering art and cultural property-related transactions.
While the controversy between Greece and the UK over the ownership of the Parthenon marbles is not new, Greek artist Hellena recently found a creative way to protest the British Museum’s continued refusal to return these pieces to her homeland. Hellena, an accomplished singer, songwriter, director, and composer, currently resides in London and staged a peaceful music protest at the museum on June 20, 2019. The protest was timed to accompany the release of her single, “The Parthenon Marbles (bring them back),” and took in the Duveen Gallery where the marbles are displayed. She performed the song ten times to commemorate the tenth anniversary of the opening of the Acropolis Museum in Athens. Hellena, supported by the British Committee for the Reunification of the Parthenon Marbles, hopes to bring awareness to the issue and right the wrongs of the past through the reunification of the Parthenon after 200 years.
Previously, the British Museum cited Greece’s lack of proper infrastructure as justification for their refusal to return the marbles. Since the opening of the Acropolis Museum, however, this excuse has grown thin. This museum has replicas of the missing pieces juxtaposed with the remaining sculptures to highlight the contrast and serve as a physical and ever-present reminder of the country’s history as a victim of looting. Members of the international legal community – including barrister Amal Clooney – have rallied around Greece’s efforts to protect its cultural heritage. After all, the UK was involved in the taking of numerous antiquities during the colonial period. However, it is a sensitive and complex issue which may prove difficult to navigate through a straightforward restitution request in the courts.
Instead, Greece prefers to offer alternative solutions. On September 2, 2019, the British Museum stated that it will consider loaning the Parthenon marbles after Greek Prime Minister Kyriakos Mitsotakis stated that he is willing to lend never-before-seen artifacts to the UK in exchange. This is a marked change from the Museum Director’s earlier statement that Lord Elgin’s original removal of the marbles was a “creative act.” Mitsotakis has acknowledged that the sculptures form part of humanity’s shared heritage, but stresses that their proper place is at the Acropolis. Nonetheless, a precondition for the loan is the acceptance of the lending institution’s ownership, which poses a potentially insurmountable obstacle, as the Greek position concerning Elgin’s theft remains firm. France has proven more amenable to the loan agreement.
While Greece decided not to pursue judicial action in this particular instance, it is still vigilant when surveying the global art market for looted items and takes legal measures when necessary. Amineddoleh & Associates currently represents the Greek Cultural Ministry in a civil case before the federal courts in New York, concerning the acquisition of a bronze horse which originated in Greece. The case is ongoing and demonstrates the need to distinguish fine arts from antiquities in cultural heritage disputes. Greek law provides the government with a constitutional mandate to protect the nation’s cultural heritage, which is exclusively owned by the state and its people. Limiting its recourse to judicial action would have far-reaching consequences for this country as well as other foreign cultural ministries and agencies tracking and attempting to recover their cultural heritage in the US. On a more personal note, Hellena’s protest demonstrates how deeply this issue resonates with Greek citizens, and all those who see the need to return cultural heritage items to their places of origin. We at Amineddoleh & Associates are poised to assist in cultural heritage disputes as we fully understand the legal and non-legal nuances affecting restitution debates.
The modern Acropolis Museum with its glass walls giving way to view of the Acropolis and glass floor showcasing excavations underneath the building.
Today marks the 10th anniversary of the opening of the Acropolis Museum in Athens, Greece. The breathtaking museum was created to house every artifact found on the Acropolis and on the surrounding slopes, and it lies over the ruins of a part of Roman and early Byzantine Athens. The building was created to replace the former museum, in part to persuade the British Museum to return the Parthenon Marbles to Greece.
The Acropolis Museum is a truly impressive institution for many reasons, one being that many of the rooms of the museum afford views of the Acropolis. Incredibly, the dimensions of the Parthenon were incorporated into the museum’s structure. The top floor has the same cardinal orientation of the ancient temple on the Acropolis. The spacing of the columns of the Parthenon Hall is identical to the ancient temple, and the use of glass walls on all four exterior walls allows natural light to cascade over the Parthenon marbles as they do on the ancient temple. The 48 columns in the Parthenon Hall mark the outline of the ancient temple and form a colonnade for the long-awaited display of the relocated marbles.
Viewing artifacts from ancient Athens is incredible in the “New” Acropolis Museum (the name used for the museum when it was first opened a decade ago). However, even viewing the Parthenon Marbles in the original Acropolis Museum was incredible because Athens is their home. When I visited Greece for the first time (in 2006), I was enthralled. While in law school, I had read about the repatriation demands for the Parthenon Marbles, and I felt that the marbles ruthlessly hacked off the Acropolis should be returned to Greece. This fight is one of the reasons why I am an art and cultural heritage attorney. Reading about the debate convinced me that the Parthenon Marbles should be returned to their rightful home in Greece.
The debate concerning the return of the Parthenon Marbles from the British Museum to Greece is perhaps the most famous controversy over repatriation. The debate is a complex one that involves both legal and ethical considerations. The British Museum hides behind the assertion that the statute of limitations has expired for making a demand (although there was no international court in which to demand repatriation). The British institution also puts forth an emotionally charged argument that returning the marbles to Greece would lead to wide-scale returns that would tragically empty the world’s great encyclopedic museums. Neither of these arguments are valid: the passage of time is no excuse to hold these marbles captive; and the fear of returning stolen items to their homes does not justify their continued presence in London.
I had an opinion about the Parthenon Marbles prior to visiting Greece- the objects should be returned to Athens. However, visiting the Mediterranean nation reinforced my view. I became passionate about the return of the marbles after walking up the slopes of Athens to the Acropolis, viewing the marbles at the former museum, and then at the state-of-the-art Acropolis Museum with views of the most important site of Ancient Athens and perhaps the best known temple in the world.
Sadly, the marbles displayed in the British Museum can never be presented in the same dynamic context as in the Acropolis Museum. The Parthenon Marbles are now thousands of miles away from home, housed in a generic museum room, without a single window. The marbles are divorced from any of their original context while in London.
The Parthenon Marbles are not merely remnants of the past, but they are symbols of Ancient Athens and the modern nation of the Hellenic Republic. Amineddoleh & Associates LLC has the honor of representing the Greek Ministry of Culture in a pending litigation concerning a Corinthian bronze. And I personally have had the honor or presenting arguments in favor of the Marbles’ repatriation in various news outlets and conferences, either as a writer, participant or contributor. For links to some of these discussions, and for additional information about the Acropolis Museum, please visit the following: Forbes editorial, NY Times editorial, Hyperallergic editorial, Third Colloquy on the Return of the Parthenon Sculptures, and this blog.
One of the more sensational stories is that the mummy board was on the SS Titanic in 1912 and caused the ship to sink. However, this is only a rumor; the Unlucky Mummy has been on public display since the 1890s, except during WWI and WWII when it was placed in storage for safekeeping. It first left the British Museum in 1990 for a temporary exhibition at the National Gallery of Australia, and it made it back to London safe and sound. In fact, much of the mummy’s malevolent backstory was invented by English editor William T. Stead, who possessed a fascination with the supernatural. Ironically, Stead perished on the Titanic – but the Unlucky Mummy’s legacy lives on. It is allegedly responsible for multiple murders, illnesses, injuries, hauntings, eerie noises, flickering lights, and other suspicious activity.
The past couple of weeks have brought several positive developments for the protection of Greek cultural heritage at the national and international levels. First, the US Ambassador to Greece, Geoffrey R. Pyatt, and the Greek Minister of Culture and Sports, Lina Mendoni, 
