Category Archives: Sculpture

The Chola King who was auctioned for $58,750

There was a big hue and cry about the Chola King bronze ” said ” to be Sri Raja Raja Chola during the 1000th year anniversary of the Tanjore Big temple.

We had done a detailed post on the same bronze and other portraits of Kings wherein we had approximated the size of the bronze based on this inscription

“14. One solid image of Periya-Perumal, having two sacred arms (and measuring) one mulam, four viral and a half in height from the feet to the hair.”

Lets take Mulam as approx 15 inches and 41/2 virals to mean half of a mulam – so totals up to 22.5 inches or 57 centimeters.

The bronze in the Sarabhai Museum is described by Sri. P. R. Srinivasan as ” The bronze representing a Chola King, height 74 cm “ in his book on Bronzes of South India ( P.R. Srinivasan (F.E. 1963, L.R. 1994))

Let us see the characteristics of this ” Chola” King once more

The Key here to the identity that is indeed a ruler is the “veerakazhal” or bravery anklet worn on the left leg.

Now, a year ago a reputed auction site listed this interesting bronze for auction with a base price of $ 60,000 to $80,000

A Large Bronze Figure of Chandikeshvara
SOUTH INDIA, CHOLA DYNASTY, 10TH/11TH CENTURY

It is interesting to compare the features of this ” Chandikeshvara” to the accepted bronzes in the Museums in Chennai and Tanjore.



If you noticed none of them have the anklet on.

Now let us see the ” chandikeshvara” bronze up close and compare to the “Chola” King.



No doubt this is definitely not Chandikeshwara but a Chola King.

The dimensions as per the auction house is :

247/8 in. (63.1 cm.) high

Which compares more favorably to the dimensions in the Big temple inscriptions

There is no mention of any dates and specific in the Provenance:

Pre-Lot Text

PROPERTY FROM A EUROPEAN COLLECTION

So is this the bronze of the Great Emperor that we should have brought back to the Tanjore Temple ? Sadly he sold below the list price for $ 58,750.

How the Kanchipuram Kailasantha Gauri’s past was erased and she was auctioned for a million dollars

A large and important bronze figure of Parvati
SOUTH INDIA, CHOLA PERIOD, CIRCA 1100

Is how the auction house describes her. Her base price was set for $800,000 – $1,200,000 and she was auctioned for $ 963,750

There is video link describing her and assigning a 11th Century date for her.

Chola bronzes of this height /size and beauty are comparable to the great bronzes just post the Sembian Madevi era and closer to Sri Raja Raja and Rajendra period.
The provenance and buyer information is scarce –

Provenance
Collection of Ariane Dandois, London, acquired in Geneva, 16 March 1977

Literature

C. Vogel, “Global Treasure Trove,” New York Times Magazine, 1 March 1987, pp. 62-66

A casual check reveals nothing about the said bronze in the quoted magazine article.

It would be interesting for readers to read more about the previous owner but that is not our objective.

Now comes the interesting part.

In 1944 there is this interesting article titled

Gauri
A Southern Bronze
By K. B. IYER

One of such pieces is Gauri from the Kailasanath temple, Conjeeveram, now in the collection of Ramgopal, the well-known dancer.

Both tradition and stylistic features distinguish it as an early Chola work of probably the 10th century

Gauri is the Gracious Mother of the Universe, the Better-half of Siva, half-female half-male (Ardha-nariswara). In love and in devotion unexcelled even among the gods, She is the supreme arche-type of conjugal felicity. When love’s darts bruise young maidens’ hearts, their secret prayers are turned to her. It is she who protects them from every shoal and storm on the unchartered sea of married life. Just as Siva as Nata-raja symbolises the cosmic law of rhythm, Parvati in her aspect as Gauri symbolises the universal and eternal female instinct of yearning devotion, aspiration and concern for the male. Isn’t this figure instinct with that poignant feeling which makes the contemplation of beauty a haunting delight?

On first look they look similar, lets analyse them




There is a problem in the mentioned dimensions.

The 1944 article mentions ” Exclusive of the pedestal which is 9 inches, the figure is 26 inches in height” whereas the auction house measures it as ” 33 1/8 in. (84.2 cm.) high ” – however, the stylistic identifications match to a T.

It is pertinent to note that the Great Chola ruler Raja Raja visited Kanchi Kailasantha temple and was awe struck by it and some consider it to be his inspiration for building the Tanjore Bridhadeshwara temple. A further study of the Chola inscriptions could reveal if this bronze is indeed his gift.

This is obviously the same bronze from the famed Kailasantha temple of Kanchi which somehow landed up with famous dancer Sri Ram Gopal OBE and was with him atleast till 1944.

He passed away in UK in 2003.

How the Gauri went out of India, was sold in Geneva and acquired by the prev owner should be easily available to the auction house. A simple google search reveals the 1944 article and photos. . Considering the current cloud over Chola bronzes, am sure there was enough due deligence done and provenances verified to accord this Bronze ” A large and important bronze figure of Parvati” Tag. If so why was her past erased?

Kapoor Files- Art of the Loot Part 14- Mystery of the color changing Nataraja

The Art world is all excited about the outcome of the trail. But there are some interesting questions that keep coming up. We look at one such ” uncomfortable question” today.

We have seen earlier the details of Sripuranthan Nataraja and Sivagami.

It is pertinent here to point out that the actual theft happened at the Sripuranthan temple – the bronzes from Suthamalli temple were brought to Sripuranthan for safe keeping !!


Thanks to the works of Chasing Aphrodite we now know that the robbers took pictures of the Nataraja immediately after the theft when it was in a ” safe” house in Tamil Nadu before it was shipped out.


We also have updated photos of the Nataraja currently on display at the NGA


Even to a lay man the question will come up – how did the Nataraja change color. The greenish color is due to oxidation – and in bronzes it is called Patina. It is something that supposedly gives bronzes the antique look and is said to be a aesthetically pleasing and hence preferable condition. The Patina also prevents further corrosion of the bronze if properly formed aka done. Now naturally formed Patina takes years to happen and usually found in bronzes which have been buried underground and will never be seen in Temple bronzes which have been subjected to continuous worship with daily ablutions. Now, some ” experts” may argue that these temples were in ruined condition and might not have taken care of their bronzes.

This is where another crucial piece of evidence turns up. His consort.




These photos are from Art of Past 2008 Catalog – the same year the NGA acquired the Nataraja. So its clear that the Nataraja would have been the same bronze color without patina.

So how did the Nataraja change color – attain Patina – yes, Patina can be artificially added thanks to today’s technology. There are chemical and physical means to impart which color you want and you practically order it when you want to commission a new bronze – green, black or Gold !!

The next question is – is there a difference in the chemical composition of a natural patina compared to one that is artificially applied. The answer is Yes and under a microscope its easy to spot the difference. In this case being a multi million dollar purchase must have been one of the first tests done by the gallery atleast to ensure they are buying a 1000 year old artifact and not a recently cast bronze.

Now the quality of this execution is important as a amateur working on such a ” priceless” piece might cause irreparable damage – in the past ( by that we mean in the case of the Pathur and the Sivapuram Nataraja ) the bronzes are sent to a country where there are expert conservators to do this job – UK !!

Now to read more into this, take a look at the case papers. Subhash Chandra Kapoor vs Inspector Of Police on 3 April, 2012

”
The said idols were presented before the Sea Customs Authority, Chennai so as to export it to xxxxxxxx Gallery and was cleared by customs on 6.3.2008 and were exported by ship to Hong Kong. They were further redirected to one xxxxxxxxxxxxxxxx Company at U.K. by direction from the petitioner. “

The same company is named in this newspaper report

Maybe the Nataraja changed color in UK??

The other question is why was the Patina applied only for the Nataraja and not to his consort? Was it customized?

Kapoor Files- Art of the Loot Part 13- the plight of the abandoned Toledo Ganesha

If ever there is a term for heights of negligence – this would be it !! No further proof is required for the utter disregard for our great Nation’s cultural treasures by the so called Custodians. We had broken the news of the Sripuranthan stolen Ganesha currently in the Toledo Museum previously.

Earlier today we also brought out the other dubious exhibit – Pala dynasty Varaha

But now we have a statement from the Museum

”
Subhash Kapoor Acquisitions Under Review

Subhash Kapoor, a second generation antiquities dealer and owner of Art of the Past Gallery on Madison Avenue in New York City, was arrested in Germany on Oct. 30, 2011 and extradited to India on July 14, 2012 to face charges of illegal exportation, criminal conspiracy and forgery. Art of the Past was in business for 35 years, selling Asian antiquities to a large roster of Museum clients, including the Toledo Museum of Art.

The Toledo Museum of Art, like many museums across the country, acquired objects from Mr. Kapoor in the period from 2001-2010. The most significant of the eight acquired by the Toledo Museum of Art from Mr. Kapoor is a Ganesha figure. After the 2006 Ganesha purchase, Mr. Kapoor gifted 56 small terracotta idols to the Museum. The purchased items have been on public display. The gifted items have never been on public display.

On July 18, 2013 the Museum received a copy of an Indian police report that includes photographs of 18 metal idols stolen from Sripuranthan Village in Tamil Nadu. One of the images of a Ganesha figure closely resembles the Ganesha purchased by the Museum in 2006 from Art of the Past. At the time of purchase consideration, the Museum received a provenance affidavit and the curator personally spoke to the listed previous owner. The object was also run through the Art Loss Registry with no issues detected.

On July 24, 2013 TMA Director Brian Kennedy sent a letter to the Consulate General of India in New York, Mr. Sugandh Rajaram, requesting his assistance in researching the Ganesha’s provenance with Indian officials. To date, the Museum has received no response. On February 17, 2014 a letter was sent to Dr. S. Jaishanka, Ambassador of India to the United States, soliciting his assistance. The Museum has not been contacted by Immigration and Customs Enforcement or any other U.S. or foreign government agency in regards to this object and others the Museum purchased from Art of the Past or gifted by Mr. Kapoor.”

The statement also gives the copies of the letters sent by the Museum to the Consulate General of India New York on July 24 !!! which they did not receive any RESPONSE

They followed up with a letter to the Ambassador of India, Washington DC on Feb 14th

It is beyond doubt that we are talking of the same bronze

The Photos in original resolution ( captured by the IFP Pondicherry team in 1994) have been with the Indian Police since 2009 !! How long does it take for the wheels of our official Machinery to move? Or have they decided to abandon the Ganesha as they did with the Sivapuram Somaskanda.

Kapoor Files- Art of the Loot Part 12- will museums come clean with provenances

Way back in July 2012 came this piece in the NY Times

“Federal authorities are asking American museums to scrutinize their collections for items that they have obtained from a veteran Manhattan art dealer now accused of possessing antiquities stolen from India and other countries. “

Much water has flowed under the bridge since – what this scrutinize means is subject to interpretation but major galleries and museums have since received the PROOF they sought that they were indeed displaying looted objects. But has enough been done? Until they have their backs to the wall none of them are coming up on their own and disclosing their dealings with the now defunct gallery. If these dealings were not shady shouldn’t they own up and come out in the open with their dealings with the accused dealer – give a list of objects they purchased from the gallery and place on record their respective provenances ( for all that is worth). Why wait for indictments and trails before owning up? Maybe there is still hope that they might get away ?? maybe they have confidence in the lax nature of Indian Authorities and their scant followup ?

Let us start with the Toledo Museum. We have already shown how they have the Ganesha – from the looted temple with authentic proof. Yet we know nothing of how they came into possession of this bronze nor is there any talk of restitution.

We have since found one more exhibit of theirs coming from Art of Past – a Pala Period Varaha

The object number seems to indicate it was purchased in 2001 (Object Number: 2001.14)

Will the museum come forward and provide details of the provenance for this piece ( we are hoping it was not purchased from a diplomat who was stationed in delhi and bought it from a art shop in 1969 !!)

Another object which matches to the Art of the past Catalog is this Lingothbhava ( shiva) in the Birmingham Museum of Art purchased in the year 2008.

The comparison is pretty straight forward

Museums are in essence Institutions of higher learning and we expect them to understand and respect cultural heritage. Their role is to open the minds of the public to the past and inspire younger minds in the pursuit of art history and in that very cause is enshrined a certain noble intention. We hope museums will set an example and live up to the expected higher moral and ethical standards – innocent purchase of looted objects is a mistake – but after knowing that they are tainted, trying to hide casts aspersions on the intent.

Kapoor Files- Art of the Loot Part 11- why no action yet

The next post in the ongoing explosive series is going to expand the operating area of this loot and also focus on the official apathy – ” Do we really value our cultural treasures?’ is the larger question.

The internet is a great tool and it threw up this vital clue for me. I had chanced on a website and a casual glance made me aware of the pain that the author expressed in his efforts. I only wish more such souls spring up and do not just stop at voicing their concerns but do something concrete to stop this rampant loot.

The 3rd alert caught my attention. I reproduce the entire contents here

“On 8 February and 1 March 2013 E-mails were sent out about four sculptures stolen from the centrally protected site of Kari Talai in Katni district of Madhya Pradesh.

These four are among the nine sculptures that were stolen from the Vishnu Varaha temple on 16/17 August 2006. Out of these nine, INTERPOL issued an alert about the torso of a Vishnu, resulting in its interception by the US Homeland Security Investigations; the others remain untraced and may have appeared in the art market.

In this present E-mail, two more sculptures are being reported, a Shalabhanjika and a female figure. The Shalabhanjika (No. KTI 99) is a young woman standing under a tree; and the female figure (No. KTI 258) alluringly removes a thorn from her foot or paints the sole of the foot, supported by a dwarfish woman. Both are universal motifs in Indian art since ancient period.

Kari Talai was an important centre under the Haihayas or Kalachuris of Tripuri or the Jabalpur area, where places of worship of Shaivism, Vaishnavism, Jainism and Buddhism were built. The temple of Vishnu’s Boar incarnation here is a large complex of the eleventh century, under the protection of the Archaeological Survey of India.

Photographs attached to this mail are supplied by the ASI’s Bhopal Circle.

First information Report was lodged at the Vijayraghavgarh police station, No. 157/06 of 17 August 2006.

From E-mails sent out earlier regarding Bilhari in the same area it is clear that vandals are striking in this region frequently.

Kari Talai is a centrally protected site. ASI has records of all these sculptures. One who perpetrated or sponsored this crime should know that he cannot fabricate a false provenance for the pieces whose pictures are now going into wide circulation.

If any museum, private collector or dealer has acquired these sculptures, they are exhorted to give up possession, inform INTERPOL, their local police, India’s diplomatic missions or the ASI. If anyone, within India or outside, has received these pieces even in ignorance of the clandestine nature of their removal, he knows now that they are stolen antiquities, and they may have been smuggled out in violation of the Indian laws and international conventions.
The addresses of the ASI are on their website www.asi.nic.in.

In the past, stolen and smuggled antiquities were traced with the support of conscientious individuals like you, or by the security agencies. If you co-operate, these remaining eight sculptures can also be traced, as was done in the case of the Vishnu torso, and be repatriated. One way in which you can support this effort is to save this mail, and others that you will receive, in a dedicated folder and forward them to your contacts. Some scholars are already doing this.

Thanking you, and hoping your support will continue,

K. Mankodi”

The image was vaguely familiar and to my surprise i found it in one of the Art of the Past Catalogs

There is no doubt that they are one and the same – and means the accused gallery dealt with plundered loot from an ASI site.


We understand that this sculpture is currently seized by US ICE and waiting for some steps from India side for restitution !!

We wonder what more does it take to make our authorities to act. For since the news of the arrest of the accused dealer the art world is closely following this case. Recently we have traced this sculpture from one of the Art of the Past advertisements being sold on auction in Cristies.


The auction site lists

“Pre-Lot Text

PROPERTY FROM A PRIVATE NEW YORK COLLECTION
Provenance

Acquired in New York, 1998 ”

We are going to increasingly see buyers offloading their spurious collections in this manner.

The call is for urgent action to widen the net and rope in more resources to trace all the suspect works.

We will see where some of the defamed gallery’s pieces are still adorning museums across the world in the coming posts.

Kapoor Files- Art of the Loot Part 10- Nagapattinam Buddha

In our continuing pursuit to bring to light the extent of the rot – today we move away from Hindu dieties and metal – to stone and Buddha – not any Buddha but a Buddha from Nagapattinam 11th Century. This was a dynamic period in the Chola rule when the mighty Emperor Sri Raja Raja ruled much of South India. His extensive donations to the Soodamani Vihara in Nagapattinam is studied to this day and to spot one such piece in the September 2010 Catalogue of now arrested Subash Kapoor’s Art of Past is the subject of our post today.


What is interesting is there is this particular article in the Hindu with the image dated Nov 11th 2012, which seem to bear a remarkable likeness to the catalog sculpture.

The foot note makes it even more interesting: ” The Buddhist statue marked for theft by alleged Kapoor associate, Sanjivi Asokan, but not stolen owing to police action.”

and the report goes ” One Buddhist idol was said to have been marked for theft by Kapoor’s alleged head of operations in Tamil Nadu, the now-imprisoned Sanjivi Asokan. However, that idol was ultimately not stolen, quite likely due to timely action by authorities. “

The image in the publication is not very clear but there is a very important clue in the Buddha’s hand – his right thumb is broken.

A careful study of the catalog reveals the same breakage in it as well.

Now obviously something is amiss. The Catalog listing also boasts that the said sculpture was exhibited in the Asian Civilisations Museum, Singapore ” On the Nalanda Trial “ from 1st Nov 2007 to 23rd March 2008. It was a prestigious exhibition which was seen even by the Prime Minister of India Dr Manmohan Singh.

The Press release of the ACM for the event has this said sculpture with a detailed foot note as well



“…viewed stunning Buddhist art, including this 11th Century stone sculpture from South India, weighing over 700 kg.”

Now, what timely action are we talking off. The photo in the Hindu seems to be of the Buddha in situ in a site in India ( large temple wall abutting it??) –

Kapoor Files- Art of the Loot Part 9- Toledo Ganesha

We had promised for some explosive revelations on this case. Here is the first of the next set. We go back to photos published by the Idol Wing.

The first of the green marked ones – the Ganesha.

Ever since this case has been in the open, we have been running through various Museum databases and acquisitions and cross checking with the images published by the Idol wing. This bronze currently in the Toledo Museum came up in our searches as it was acquired in 2006 ( for the acquisition number)

On further checking we notices that the Museum has had a lot of interaction with the accused Subash Kapoor and he is listed in their annual report 2007 ( refer the end notes). We could not find the gallery’s 2006 Annual report and hence are not aware if the provenance information is declared in that document.

However a simple comparison reveals that we are looking at the same Sripuranthan Ganesha

Lets take a closer look – there is a small blemish in the trunk ( wish we could receive better quality images of the same)


Thanks to a friendly associate who took the pains to drive up to the Museum and get us high resolution images we can check the bronze in toledo and match the same.

The Hands, base pedestal, the loin cloth ornamentation all match up.



Now, it is upto the authorities to seek the return of this looted deity.

Foot Note:

Annual report 2007 of the Toledo Museum ( extract):

Burmese, Buddhist Votive Plaque, 12th–13th century, terra cotta,
Gift of Subhash Kapoor, 2007.113
Burmese, Buddhist Votive Plaque, 12th–13th century, terra cotta,
Gift of Subhash Kapoor, 2007.114
Indian, Gupta Period, Seated Mother, 5th century, terra cotta, terra
cotta, Gift of Subhash Kapoor, 2007.107
Indian, Gupta Period, Standing Monkey, 6th century, terra cotta,
Gift of Subhash Kapoor, 2007.108
Indian (Chandraketugarh), Mithuna Plaque, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.109
Indian (Chandraketugarh), Kubera Rattle, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.110
Indian, Gupta Period, Durga Killing Buffalo Demon, 5th century,
terra cotta, Gift of Subhash Kapoor, 2007.111
Indian, Mauryan, Bird with Wheels, 1st century B.C.–1st century A.D.,
terra cotta, Gift of Subhash Kapoor, 2007.112
Indian (Chandraketugarh), Kubera Rattle, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.115
Indian (Chandraketugarh), Fertility Goddess Sitting with Star, 1st
century B.C.–1st century A.D., terra cotta, Gift of Subhash Kapoor,
2007.116
Indian (Chandraketugarh), Square Plaque with Horse, 1st century
B.C.–1st century A.D., terra cotta, Gift of Subhash Kapoor, 2007.117
Indian (Chandraketugarh), Fertility Plaque, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.118
Indian (Chandraketugarh), Man Riding Animal, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.119
Indian (Chandraketugarh), Torso of a Woman, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.120
Indian (Chandraketugarh), Monkey Figure, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.121
Indian (Chandraketugarh), Mithuna Plaque, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.122
Indian (Chandraketugarh), Mithuna Plaque, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.123
Indian (Chandraketugarh), Plaque with Two Figures, 1st century
B.C.–1st century A.D., terra cotta, Gift of Subhash Kapoor, 2007.124
Indian (Chandraketugarh), Plaque with Figures, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.125
Indian (Chandraketugarh), Mithuna Plaque, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.126
Indian (Chandraketugarh), Rattle of Kubera, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.127
Indian (Chandraketugarh), Plaque of Yakshi, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.128
Indian (Chandraketugarh), Mithuna Plaque, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.129
Indian (Chandraketugarh), Mithuna Plaque, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.130
Indian (Chandraketugarh), Plaque of Standing Figure, 1st century
B.C.–1st century A.D., terra cotta, Gift of Subhash Kapoor, 2007.131
Indian (Chandraketugarh), Plaque of a Horse, 1st century B.C.-1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.132
Indian (Chandraketugarh), Plaque of Two Figures, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.133
Indian (Chandraketugarh), Mithuna Plaque, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.134
Indian (Chandraketugarh), Mithuna Plaque, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.135
Indian (Chandraketugarh), Circular Plaque Fertility Goddess, 1st
century B.C.–1st century A.D., terra cotta, Gift of Subhash Kapoor,
2007.136
Indian (Chandraketugarh), Figure on Crocodile, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.137
Indian (Chandraketugarh), Mithuna Plaque, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.138
Indian (Chandraketugarh), Fragment of Yakshi Head, 1st century
B.C.–1st century A.D., terra cotta, Gift of Subhash Kapoor, 2007.139
Indian (Chandraketugarh), Standing Yakshi, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.140
Indian (Chandraketugarh), Fragment of Yakshi Plaque, 1st century
B.C.–1st century A.D., terra cotta, Gift of Subhash Kapoor, 2007.141
Indian (Chandraketugarh), Fragment of Yakshi and Bird, 1st century
B.C.–1st century A.D., terra cotta, Gift of Subhash Kapoor, 2007.142
Indian (Uttar Pradesh), Ram, 1st –2nd century A.D., terra cotta, Gift
of Subhash Kapoor, 2007.143
Indian (Chandraketugarh), Mithuna Plaque, 1st century B.C.–1st
century A.D., terra cotta, Gift of Subhash Kapoor, 2007.144
Indian (Chandraketugarh), Plaque of Water Buffalo and Tiger, 1st
century B.C.–1st century A.D., terra cotta, Gift of Subhash Kapoor,
2007.145
Indian (Chandraketugarh), Fertility Goddess Figure, 1st century
B.C.–1st century A.D., terra cotta, Gift of Subhash Kapoor, 2007.146
Indian (Uttar Pradesh), Gupta Period, Head, 5th century, terra cotta,
Gift of Subhash Kapoor, 2007.147
Indian (Uttar Pradesh), Gupta Period, Head, 6th century, terra cotta,
Gift of Subhash Kapoor, 2007.148
Indian (Uttar Pradesh), Gupta Period, Head, 7th century, terra cotta,
Gift of Subhash Kapoor, 2007.149
Indian (Uttar Pradesh), Gupta Period, Head, 8th century, terra cotta,
Gift of Subhash Kapoor, 2007.150
Indian (Western India), Female Head, Gupta period, 5th century,
terra cotta, Gift of Subhash Kapoor, 2007.158
Indian, Gupta Period, Head, 4th century, terra cotta, Gift of Subhash
Kapoor, 2007.159

seems he was also into Pakistani

Pakistani (Mehrgarh; Ancient India), Bull with Two Humps, 5000–
2000 B.C., terra cotta, Gift of Subhash Kapoor, 2007.151
Pakistani (Mehrgarh; Ancient India), Cow, 5000–2000 B.C., terra
cotta, Gift of Subhash Kapoor, 2007.152
Pakistani (Mehrgarh; Ancient India), Cow on Base, 5000–2000 B.C.,
terra cotta, Gift of Subhash Kapoor, 2007.153
Pakistani (Mehrgarh; Ancient India), Two Cows, 5000–2000 B.C.,
terra cotta, Gift of Subhash Kapoor, 2007.154
Pakistani, Cross Plaque, 5th–7th century, terra cotta, Gift of Subhash
Kapoor, 2007.155
Pakistani (Mehrgarh; Ancient India), Bowl, 4th–3rd century B.C.,
terra cotta, Gift of Subhash Kapoor, 2007.156
Pakistani (Mehrgarh; Ancient India), Female Doll, 5th–3rd century
B.C., terra cotta, Gift of Subhash Kapoor, 2007.160
Pakistani (Mehrgarh; Ancient India), Female Doll, 6th–3rdcentury
B.C., terra cotta, Gift of Subhash Kapoor, 2007.161
Pakistani (Mohenjo-daro; Ancient India), Weight, 3000–1000 B.C.,
terra cotta, Gift of Subhash Kapoor, 2007.162
Pakistani (Mehrgarh; Ancient India), Bull with Two Humps, 5000–
2000 B.C., terra cotta, Gift of Subhash Kapoor, 2007.151
Pakistani (Mehrgarh; Ancient India), Cow, 5000–2000 B.C., terra
cotta, Gift of Subhash Kapoor, 2007.152
Pakistani (Mehrgarh; Ancient India), Cow on Base, 5000–2000 B.C.,
terra cotta, Gift of Subhash Kapoor, 2007.153
Pakistani (Mehrgarh; Ancient India), Two Cows, 5000–2000 B.C.,
terra cotta, Gift of Subhash Kapoor, 2007.154
Pakistani, Cross Plaque, 5th–7th century, terra cotta, Gift of Subhash
Kapoor, 2007.155
Pakistani (Mehrgarh; Ancient India), Bowl, 4th–3rd century B.C.,
terra cotta, Gift of Subhash Kapoor, 2007.156
Pakistani (Mehrgarh; Ancient India), Female Doll, 5th–3rd century
B.C., terra cotta, Gift of Subhash Kapoor, 2007.160

Iranian

Iranian, Pitcher, 9th–10th century, terra cotta, Gift of Subhash
Kapoor, 2007.157

The Museum recognizes and thanks the
following organizations, businesses, and
individuals who made gifts during 2008
in support of art acquisitions, capital
projects, and special programs.
$100,000+ – Subhash Kapoor: gift of art

CUMULATIVE GIVING
The Toledo Museum of Art salutes the
following donors for their generosity and
continuing support during its second
century:
Key:
I. Founding Benefactors
II. $10 million and higher
III. $5 million to $9.999 million
IV. $1 million to $4.999 million
V. $500,000 to $999,999
VI. $250,000 to $499,999 – Mr. Subhash Kapoor
VII. $100,000 to $249,999

Kapoor Files- Art of the Loot Part 8- He is in Australia while She is in America

It has been quite sometime since the world was made aware of the theft of the bronzes and the involvement of accused Subash Kapoor and the gallery Art of the Past. The proverbial tip of the iceberg was this Nataraja and thanks mainly to efforts of blessed souls across the world.. While there has been nothing new that has come up on this case from the authorities and same rhetoric from the gallery.…we now have further evidence to show that his consort is languishing in America.

Here is the file photograph of them together as a couple in their abode in Sripuranthan.


We had earlier shown the proof on the Nataraja and now thanks to a generous reader we have accessed to the Art of the Past galleries 2008 catalogue which reveals shockingly indepth details of the bronze including a flowery writeup. You cannot but notice that the residual marks on her face and cheeks explicitly imply that she was a bronze under continuous worship !!

A simple comparison reveals that both are the same

This is the same bronze that was displayed when America customs displayed their catch in the news conference post the raids on the Art of Past gallery warehouse.

This should be more than adequate proof to seek the return of this bronze back to India ! and hopefully reunite the divine couple.

Kapoor Files- Art of the Loot Part 7- can we afford to be Lax

Can we afford to be Lax in our followup of bringing back our cultural treasures ? It is a question which we posed to our readers some months back in this post….

Sadly the trend seems to be continue in current ” progress” on the Kapoor story. We find a detailed account with varying dates , numbers given in the Idol wing’s website with the foot note reading as under:
”
Present Stage of the Case :

There were two temple burglaries in Sripuranthan Village and Suthamally Village during 2006 and 2008 which 28 antique idols of Hindu Deities of immeasurable value were stolen and subsequently smuggled out of India and illegally exported to USA”

Compare the same to the case registered

“It was during interrogation of those persons, it transpired that 18 Antique Metallic idols were stolen from Sri Varadaraja Perumal Temple at Suthamalli village by the three of them”…..” theft of eight idols in an another Sivan Temple at Sri Puranthan Village in Ariyalur District”

“…….18 Antique metallic idols from Sri Varadaraja Perumal Temple at Suthamalli village. A Non Bailable Warrant was issued to the petitioner and for recovery of stolen idols. Blue notices were sent for extradition of the petitioner to CBI, Interpol, New Delhi. It was further found that the same gang was also involved in the theft of eight Antique metallic idols stolen from Sri Pragdeeswarar Temple at Sri Purandan village in Ariyalur District. They were also exported to the U.S.”

So the case files reference to 18+8 = 26 bronzes.

Another reference mentions only 18

“On 13.04.2008, in a famous temple viz., M/s.Arulmigu Sundareswarar and Varadharaja Perumal Thirukovil, Suthamalli Village, Udayarpalayam Taluk, Ariyalur District, as many as 18 idols, made of panchalohas were stolen away.”

While the most glaring anomaly is in the number of bronzes stolen there seems no consenus on the actual year they were stolen and illegally exported out of India. To make matters worse the Idol wing’s most important tool – ie the release of the photographs in such poor quality and most irresponsible manner in which they affixed erroneous names to the exhibits : Real howlers like Deepalakshmi ( lady with the lamp!!) for an Amman bronze, Sampanthar for Manikkavasagar and Krishnan for Sambandar. The second set of photos have equally ridiculous labeling : Deepalakshmi for Astradevar, Murugan for Chandikeshwara.

The Pdf published in the same site thankfully makes a few corrections but is still wrong in many. However it is important to note that the Chandikeshwara shown in the website ( titled Murugan) is absent in the pdf and now has a proper subramanya. So let us count.

8 listed under Suthamalli and 8 listed ( count Nataraja + uma as 2) under Sripuranthan. The photo of Chandikeshwara seems to match the set from Suthamalli. So overall we have images only for 17 bronzes.

We have already published information on the pdf file and the two images marked in Green have been identified with bronzes currently exhibited in two major museums. This information has already been passed on to the authorities and hopefully they will act on them. It is important to mention that they seem to have acquired them as early as in 2006.

It is pertinent to mention that The Australian has just published a list of 21 items acquired from Subash Kapoor that need to checked. The most interesting is this masterpiece Sambandar.



We do not have a visual match for it from any of the published bronzes from the Idol wing ( as obviously they wrongly labelled dancing Sambandar as narthana Krishnar and then Manikkavasagar as Sampanthar !!).

We understand the the IFP has in its archives atleast some (more) of the photos from both the temples and it is sad to see that a complete itinerary of the assets have not been tallied and presented to the courts yet.

It is pertinent that the Idol wing and other authorities show more interest in solving this case in entirety and not just do lip service Galleries and Museums who have bought these stolen items have to shown proof to make them return these artifacts.

for example, below are some bronzes which are yet to be identified by us but published in the catalogues of Art of the Past.

Dancing Krishna / Navaneetha Krishna – Catalogue September 2008


The styling of this Krishna is contemporary the Sambanthar from Australia.

Skanda – Chola – Catalogue September 2008



This is a very important chola subramanya ( distinct from the previous one we posted)

Ganesha – Chola – Catalogue September 2009

It is important to notice that the base has been removed from this bronze. We have already seen that the bronzes from Suthamalli have inscribed bases reading ” Suthavalli” being found in both the Natarja and Uma pedestals. Were all the bronzes similarly inscribed and is it the reason why they had their bases removed? If so is this bronze part of the stolen yet unlisted one from Suthamalli ? Further we have information that the IFP has one bronze listed as Ganapthi under their roll number 02235. Will the authorities make the effort to check this?

Uma – Chola Catalogue September 2011


Classical Chola beauty. We hope this is part of the sculptures covered in the latest twist from America side.

Nataraja – Chola Catalogue March 2011.



Fantastic chola Nataraja and not matching any of the bronzes published by the Idol wing. It is pertinent to point out that the IFP has two bronze Nataraja’s listed in their archives under roll number 11207 from Sripuranthan. Was there a second Nataraja stolen from the same temple?

We have also had a kind volunteer submit paper cuttings of Art of Past advertisements in Art of Asia volumes and they have been invaluable in ascertaining provenance for ( yet unreported) findings. However, there are a few more interesting bronzes from those which we are putting in public domain for people to help report.

Somaskanda- Chola

This is different from the published Somaskanda from suthamalli – photo from the Idol wing which is still to be traced.

Jaina MahaYaksha – Chola

Very rare to see a Jaina bronze but sculpted in classic Chola style.

Parvathi – late Chola ?

We hope the above will help unravel more and spur the authorities to do a more through job