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Boy accidentally smashes 3500-year old artefact

<p>A 3500-year old jar has been smashed to pieces after a four-year-old boy accidentally knocked it over during a trip to a museum in Israel. </p> <p>The Hecht Museum in Haifa told the BBC that the artefact dates back to the Bronze Age between 2200 and 1500BC - and was considered a rare find because it was so intact.</p> <p>It had been on display near the entrance of the museum without any protective glass around it, as the museum believes there is a  “special charm” in showcasing archaeological finds “without obstructions”.</p> <p>The boy's father, Alex, told the publication that his son had only "pulled the jar slightly" because he was "curious about what was inside", causing it to fall.</p> <p>He also said that he was "in shock" to see his son next to the ruined artefact and initially thought "it wasn't my child that did it".</p> <p>After calming his child down, he spoke to a security guard who confirmed what happened. </p> <p>The museum stated they would not be charging the family and they've even invited the child back to the exhibition for an organised tour after the incident occurred a few days ago. </p> <p>“There are instances where display items are intentionally damaged, and such cases are treated with great severity, including involving the police,” Lihi Laszlo from The Hecht Museum told the <em>BBC</em>. </p> <p>“In this case, however, this was not the situation. The jar was accidentally damaged by a young child visiting the museum, and the response will be accordingly.”</p> <p>A conservation specialist has also been brought on board to restore the jar, which will be returned to the museum "in a short time".</p> <p>The boy's father said they will feel "relieved" to see the jar restored but added they are "sorry" because "it will no longer be the same item". </p> <p>“Despite the rare incident” the museum told the publication that they intend to continue displaying items without barriers or glass walls, where possible. </p> <p>The ancient jar was likely originally used to carry local supplies like wine and olive oil and predates the time of the Biblical King David and King Solomon and is distinctive of the Canaan region on the eastern Mediterranean coast.</p> <p><em>Images: Hecht Museum</em></p> <p> </p>

Travel Trouble

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What should the Australian War Memorial do with its heroic portraits of Ben Roberts-Smith?

<p><a href="https://theconversation.com/profiles/kit-messham-muir-129956">Kit Messham-Muir</a>, <em><a href="https://theconversation.com/institutions/curtin-university-873">Curtin University</a></em></p> <p>On Friday, the <a href="https://theconversation.com/dismissed-legal-experts-explain-the-judgment-in-the-ben-roberts-smith-defamation-case-191503">Federal Court dismissed</a> Ben Roberts-Smith’s defamation case against The Age, The Sydney Morning Herald and The Canberra Times.</p> <p>Justice Anthony Besanko ruled the newspapers had established, by the “balance of probabilities” (the standard of evidence in a civil lawsuit), that Roberts-Smith had committed war crimes.</p> <p>Following the ruling, much public debate has focused on what the Australian War Memorial should do with Robert-Smith’s uniform, helmet and other artefacts of his on display.</p> <p>Greens senator David Shoebridge <a href="https://twitter.com/DavidShoebridge/status/1664140665666826240">called for</a> the removal of these objects from public display to correct the official record and “to begin telling the entire truth of Australia’s involvement in that brutal war.”</p> <p>The topic of what to do with Roberts-Smith’s uniform and helmet was debated on <a href="https://www.youtube.com/watch?v=sH1oVNVJP1k">ABC’s Insiders yesterday</a>: should the display be removed, effectively cancelled, or changed to tell the full story?</p> <h2>The case of the oil paintings</h2> <p>It is not just these artefacts on display. The memorial also has two heroic oil painting portraits of Roberts-Smith by one of Australia’s leading artists, <a href="http://www.michaelzavros.com/">Michael Zavros</a>.</p> <p>These paintings were commissioned by the memorial in 2014.</p> <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/529980/original/file-20230605-16883-qhpzvv.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/529980/original/file-20230605-16883-qhpzvv.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/529980/original/file-20230605-16883-qhpzvv.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=448&fit=crop&dpr=1 600w, https://images.theconversation.com/files/529980/original/file-20230605-16883-qhpzvv.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=448&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/529980/original/file-20230605-16883-qhpzvv.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=448&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/529980/original/file-20230605-16883-qhpzvv.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=563&fit=crop&dpr=1 754w, https://images.theconversation.com/files/529980/original/file-20230605-16883-qhpzvv.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=563&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/529980/original/file-20230605-16883-qhpzvv.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=563&fit=crop&dpr=3 2262w" alt="" /></a><figcaption><span class="caption">Michael Zavros, Pistol grip (Ben Roberts-Smith VC), 2014, oil on canvas, 162 cm x 222 cm.</span> <span class="attribution"><a class="source" href="https://www.awm.gov.au/collection/C2092390">© Australian War Memorial</a>, <a class="license" href="http://creativecommons.org/licenses/by-nc/4.0/">CC BY-NC</a></span></figcaption></figure> <p><a href="https://www.awm.gov.au/collection/C2092390">Pistol Grip (Ben Roberts-Smith VC)</a> is a larger-than-life-sized depiction of Roberts-Smith, camouflage arms outstretched, mimicking the action of holding a pistol.</p> <p>The smaller <a href="https://www.awm.gov.au/collection/C2092391">Ben Roberts-Smith VC</a> depicts him in ceremonial military uniform.</p> <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/529982/original/file-20230605-23-pgn7xe.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/529982/original/file-20230605-23-pgn7xe.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/529982/original/file-20230605-23-pgn7xe.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=442&fit=crop&dpr=1 600w, https://images.theconversation.com/files/529982/original/file-20230605-23-pgn7xe.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=442&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/529982/original/file-20230605-23-pgn7xe.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=442&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/529982/original/file-20230605-23-pgn7xe.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=555&fit=crop&dpr=1 754w, https://images.theconversation.com/files/529982/original/file-20230605-23-pgn7xe.jpeg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=555&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/529982/original/file-20230605-23-pgn7xe.jpeg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=555&fit=crop&dpr=3 2262w" alt="" /></a><figcaption><span class="caption">Michael Zavros, Ben Roberts-Smith VC, 2014, oil on canvas, 30 x 42 cm.</span> <span class="attribution"><a class="source" href="https://www.awm.gov.au/collection/C2092391">© Australian War Memorial</a>, <a class="license" href="http://creativecommons.org/licenses/by-nc/4.0/">CC BY-NC</a></span></figcaption></figure> <p>In an <a href="https://memoreview.net/reviews/the-anti-art-of-war-by-rex-butler-and-paris-lettau">article in arts criticism website Memo</a> yesterday, respected Monash University art historian Rex Butler and arts journalist Paris Lettau weighed into the debate.</p> <p>Butler and Lettau say Pistol Grip is:</p> <blockquote> <p>threatening, over-bearing, macho, hyper-masculine, celebratory, and enormous, like the man himself – some 220 centimetres wide and 160 centimetres high.</p> </blockquote> <p>When Zavros created his large portrait it was a depiction of a soldier doing what he was trained – and venerated – for doing.</p> <p>It is an aggressive pose that, given current developments, can be read in a much more sinister way. It touches on a far bigger question of how national institutions for the public memory of war address difficult and morally ambiguous moments in a national story.</p> <h2>Moral and ethical ambiguity</h2> <p>When the Canadian War Museum opened at its new site in Ottawa in 2005, its new displays included two paintings in their collection by Canadian artist <a href="https://www.theglobeandmail.com/opinion/article-in-her-powerful-portraiture-military-artist-gertrude-kearns-pays/">Gertrude Kearns</a>.</p> <p>The paintings, Somalia without Conscience, 1996, and The Dilemma of Kyle Brown: Paradox in the Beyond, 1995, dealt with one of the most shameful episodes in Canada’s military history, known as the <a href="https://en.wikipedia.org/wiki/Somalia_affair">Somalia Affair</a>.</p> <p>In 1992, the Canadian Airborne Regiment was deployed as peacekeepers to Somalia. In 1993, 16-year-old Shidane Arone was found hiding in the Canadian base, believed to have been stealing supplies. He was tortured, and soldiers photographed themselves with the semi-conscious boy. Master Corporal Clayton Matchee and his subordinate Private Kyle Brown <a href="https://www.vice.com/en/article/7x75xg/remembering-the-somalia-affair-canadas-forgotten-abu-ghraib-moment">were charged</a> with his murder and torture.</p> <p>Somalia without Conscience depicts Matchee posing with the beaten Arone, while The Dilemma of Kyle Brown depicts Brown symbolically holding two potential fates in his hands: a lightly coloured cube in his right hand, and a darkened cube in his left. It addresses an ethical grey area many soldiers face during active service when the hierarchy of command comes into direct conflict with conscience.</p> <p>Following the opening of the new Canadian War Museum, the presence of Kearns’s paintings sparked <a href="https://books.google.com.au/books?id=nltxDwAAQBAJ&pg=PT519&lpg=PT519&dq=%E2%80%9Cwas+not+only+telling+the+stories+of+heroism+and+courage+that+most+of+them+expected+to+be+told+but+also+stories+about+failures,+disappointments,+and+human+frailty%E2%80%9D&source=bl&ots=sfQZw_2qXL&sig=ACfU3U18i4X0ERdbg0wfOKXbnOIe1-5-pA&hl=en&sa=X&ved=2ahUKEwjXw6Sdk6v_AhXGVmwGHbRwDh0Q6AF6BAgJEAM#v=onepage&q=%E2%80%9Cwas%20not%20only%20telling%20the%20stories%20of%20heroism%20and%20courage%20that%20most%20of%20them%20expected%20to%20be%20told%20but%20also%20stories%20about%20failures%2C%20disappointments%2C%20and%20human%20frailty%E2%80%9D&f=false">intense debate</a>. Curator Laura Brandon received abusive emails from members of the public.</p> <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/529986/original/file-20230605-23-vgma1q.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/529986/original/file-20230605-23-vgma1q.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/529986/original/file-20230605-23-vgma1q.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=399&fit=crop&dpr=1 600w, https://images.theconversation.com/files/529986/original/file-20230605-23-vgma1q.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=399&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/529986/original/file-20230605-23-vgma1q.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=399&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/529986/original/file-20230605-23-vgma1q.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=501&fit=crop&dpr=1 754w, https://images.theconversation.com/files/529986/original/file-20230605-23-vgma1q.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=501&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/529986/original/file-20230605-23-vgma1q.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=501&fit=crop&dpr=3 2262w" alt="" /></a><figcaption><span class="caption">The Canadian War Museum in Ottawa.</span> <span class="attribution"><span class="source">Shutterstock</span></span></figcaption></figure> <p>The museum copped criticism from figures such as the head of the National Council of Veterans Associations, who <a href="https://www.cbc.ca/news/canada/ottawa/war-museum-s-paintings-anger-veterans-group-1.546113">called</a> the paintings a “trashy, insulting tribute” and urged a boycott of the opening of the new museum.</p> <p>Discussing this controversy in 2007, <a href="https://journals.sagepub.com/doi/abs/10.1177/1354856507072860?journalCode=cona">Brandon said</a> what upset veteran communities was that “their” museum:</p> <blockquote> <p>was not only telling the stories of heroism and courage that most of them expected to be told but also stories about failures, disappointments, and human frailty.</p> </blockquote> <p>Brandon remained steadfast the museum needed to address the messy ambiguities of war and, despite pressure, kept Kearns’s paintings on display for the duration of the exhibition.</p> <h2>The complexity of contemporary art</h2> <p>Brandon’s curatorial decision to display Kearns’s Somalia paintings strike at the heart of what is special and important about contemporary war art in a national museum.</p> <p>Contemporary art presents ethical and moral complexity, grey zones and a range of perspectives. This is vital in a healthy liberal democracy.</p> <p>While Brandon’s choice to show Kearns’s Somalia paintings attracted criticism, the museum remained committed to telling a story that is difficult, ethically and morally complex, and uncomfortable for Canadians.</p> <p>To remove Zavros’ portraits from display would remove the now-untenable hero narrative that once surrounded Roberts-Smith. But doing so would also rewrite public memory by effectively erasing an important part of why and how Roberts-Smith was revered.</p> <p>These portraits now represent a morally complex story that needs to be addressed by our national war museum.</p> <p>To remove the portraits would miss a valuable opportunity to debate important questions about how we construct hero stories.</p> <p>So, how could these portraits still be shown in future?</p> <p>Zavros’ portraits were already complex works.</p> <p>Following Friday’s announcement, it is more important they are seen in all their additional multi-layered and problematic complexity.</p> <p>The portraits show us how we create the nation through the stories we tell ourselves, and how dynamic that narrative can be. The portraits present a valuable opportunity to show narratives of war – like the stories of our own lives – are never simple, consistent and coherent.</p> <p>The portraits should be displayed in ways that address this complexity, capturing the evolving story of Roberts-Smith in explanatory wall text. There is an opportunity here to not simply “correct” the official record, as Shoebridge suggests, but to have a deeper conversation about the role of hero narratives in diverting attention away from more important public debates about Australia’s involvements in conflicts.</p> <p>Maybe this could be addressed in the art the memorial commissions in future.</p> <p>The most compelling contemporary art works – and the most valuable museum displays in our national institutions – are those that consider our complex stories, raise important and self-reflective questions, and challenge simplistic narratives. <!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/206934/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines --></p> <p><em>Image credit: Getty</em></p> <p><a href="https://theconversation.com/profiles/kit-messham-muir-129956">Kit Messham-Muir</a>, Professor in Art, <em><a href="https://theconversation.com/institutions/curtin-university-873">Curtin University</a></em></p> <p>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/what-should-the-australian-war-memorial-do-with-its-heroic-portraits-of-ben-roberts-smith-206934">original article</a>.</p>

Legal

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Art expert fired over gross underestimation of artefact

<p dir="ltr">A French art expert has been fired after grossly undervaluing a Chinese vase at 4,000 times less than its sale price.</p> <p dir="ltr">The vase in question, which was originally estimated at €2,000 ($3,119 AUD), sold for €9 million ($14,000,000 AUD) at French Osenat auction in Fontainebleau house in early October.</p> <p dir="ltr">The original estimate reflected the expert’s view that it was a 20th-century decorative piece, however buyers suspected that it might date back further to the 18th-century.</p> <p dir="ltr">Despite the date discrepancy, it is still unclear as to what drove the price so much higher. </p> <p dir="ltr">“The expert made a mistake. One person alone against 300 interested Chinese buyers cannot be right,” auction house president Jean-Pierre Osenat told T<a href="https://www.theguardian.com/world/2022/oct/07/why-chinese-vase-valued-at-euros-2000-sold-for-euros-8m-france">he Guardian</a> last week. </p> <p dir="ltr">“He was working for us. He no longer works for us. It was, after all, a serious mistake.”</p> <p dir="ltr">The anonymous seller found the Chinese ‘Tianqiuping’ style vase while clearing out her mother’s estate. </p> <p dir="ltr">While the dragon and cloud motif is greatly sought after among Asian collectors, some believe to have spotted a stamp belonging to 18th-century Chinese emperor Qianlong on the vase.</p> <p dir="ltr">“We don’t know whether [the vase] is old or not or why it sold for such a price,” explained Cédric Laborde, the director of the auction house’s Asian arts department. </p> <p dir="ltr">“The valuation corresponded to what the expert thought. In China, copying something, like an 18th-century vase, is also an art.”</p> <p dir="ltr">The unnamed and now-fired expert is reportedly standing by his original valuation of the Chinese vase.</p> <p dir="ltr"><em>Image credits: Getty Images / Osenat</em></p>

Art

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United States returns stolen artefacts to Cambodia

<p dir="ltr">The United States have given back 30 artefacts that were allegedly stolen by a late antiquities dealer, who had been accused of leading a trafficking network that resold objects that were looted from the country.</p> <p dir="ltr">Among the objects that were officially returned to the country was a 10th-century sculpture of the Hindu god Skanda atop a peacock. </p> <p dir="ltr">Deeming the work a “masterpiece,” authorities in New York alleged that the late antiquities dealer Douglas Latchford had stolen the sculpture in 1997 and subsequently sold it for $1.5 million.</p> <p dir="ltr">The Skanda sculpture had come from the ancient Khmer capital of Koh Ker, which is also where a 10th-century sculpture of Ganesha that allegedly passed through Latchford’s hands was once located. </p> <p dir="ltr">The Ganesha sculpture was also given back to Cambodia, along with several other artefacts.</p> <p dir="ltr">While the US District Attorney’s office did not place a monetary value on the artefacts, the works returned were of great spiritual and artistic significance. </p> <p dir="ltr">Ricky J. Patel, a special agent with Homeland Security, said in a statement, “These antiquities we returned were ripped from their country. Beyond their extraordinary beauty and craftsmanship, many are sacred artefacts pried from temples and palaces to be smuggled across borders and peddled by those seeking profit, without any regard to the intangible value they have to the people of their homeland.”</p> <p dir="ltr">The artefacts are due to go on display in a museum in Cambodia later this year. </p> <p dir="ltr"><em>Image credits: Getty Images</em></p>

Art

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London gallery returns stolen works to Nepalese owners

<p dir="ltr">Two artefacts that were stolen 30 years ago from a temple in Nepal have been repatriated in a ceremony at the Nepalese embassy in London.</p> <p dir="ltr">The 16th-century carved wooden Torana, a ceremonial gateway, and the 17th-century stone statue of a kneeling devotee were both taken from a sacred site near Kathmandu, according to detective superintendent John Roch of the London Metropolitan police at the handover, which was attended by the Nepalese ambassador Gyan Chandra Acharya.</p> <p dir="ltr">In a statement, both parties expressed “their willingness to work closely and promote the collaborative efforts for the preservation of cultural heritage.”</p> <p dir="ltr">Both artefacts were found in the holdings of Barakat Gallery’s London branch, with the London Metropolitan police claiming that the pieces had been inherited from a deceased relative, and had been in the family’s possession for 20 years. </p> <p dir="ltr">Barakat voluntarily relinquished the artefacts after they were determined to be the looted cultural property of Nepal.</p> <p dir="ltr">“I am deeply committed to [supporting] Nepali efforts in protecting and repatriating its rich cultural heritage, and hope we can all continue to fight to reinstate access, agency and power over their living heritage to the Nepali people,” Emiline Smith, a professor of criminology at the University of Glasgow, wrote on Twitter. </p> <p dir="ltr">Emiline specialises in the global illegal trade in cultural objects originating from Asia, and brought the issue to the attention of the authorities in Nepal and Interpol, which then connected with London’s police.</p> <p dir="ltr">Nepal’s acting consul general Bishnu Prasad Gautam received the artefacts on behalf of the Nepalese government in a ceremony organised by the museum.</p> <p dir="ltr">In a statement, Gautam called the repatriation “proactive,” adding that gallery’s cooperation has “positively contributed to Nepal’s national efforts” to recover its stolen cultural property from foreign collections.</p> <p dir="ltr"><em>Image credits: The Nepalese Embassy in London</em></p>

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Customer loses it at Australia Post after 100-year-old “artefact” RUINED

<p>An Australia Post customer has claimed her rare artefact was destroyed after it was thrown at her door by a delivery driver.</p> <p>The woman, who took to Facebook to share her frustration, revealed a vinyl record being delivered from England all the way to Alexandra Hills near Brisbane, was snapped clean in half when it arrived at her door.</p> <p>She also also claims the package was stepped on, with a “clear boot/heel print” on the packaging.</p> <p>While it is unclear if the parcel was damaged in Australia or prior to its arrival in the country, the customer was left in a rage.</p> <p>“This is the type of 'service' you can expect from Australia Post,” she wrote online.</p> <p><img style="width: 500px; height: 281.25px;" src="https://oversixtydev.blob.core.windows.net/media/7841562/aus-post-2.jpg" alt="" data-udi="umb://media/6e52476e1ddc4194b14685332da9ff04" /></p> <p>“A clear heel/boot print on a rare 100-year-old historical artefact which was literally thrown at the door before the delivery guy hot-tailed it up the driveway.</p> <p>"Is it normal practise for AUS Post workers to trample over the top of fragile items?”</p> <p>The customer complained again, just two days later, when she received another damaged package that had the word “FRAGILE” written across it.</p> <p>“Yet another one!! Look where the damage is this time. Right on the word ‘Fragile’,” she wrote.</p> <p>The parcel had been damaged only a centimetre or two above the word.</p> <p>Thankfully it seems only the package was damaged while contents of the parcel were fine.</p> <p>Australia Post doesn’t offer a service for fragile items but makes clear on its website “we’ll always try to handle items with care”.</p> <p>An Australia Post spokesperson said it was important each sender ensures a package is carefully wrapped before sending.</p> <p><em>"</em>Our people are working hard to deliver record volumes of parcels and the vast majority arrive safely. We always recommend that parcels are packaged appropriately, with adequate protection such as cushioning around the item to make sure it isn't damaged," the spokesperson said.</p> <p>"Customers with concerns about their delivery are encouraged to contact us on 13 POST for help and support."</p> <p>Australia Post says to protect fragile items, it should be individually wrapped in tissue paper or newspaper and placed inside a box before wrapping it in extra cushioning.</p> <p><em>Images: Facebook</em></p>

Retirement Life

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Rare Titanic artefact with a "hint of scandal" up for auction

<p>An extremely rare gold cigarette case from the Titanic disaster is up for auction. The case, that once belonged to a controversial wealthy couple, comes complete with a backstory and belonged to Sir Cosmo and Lady Duff-Gordon.</p> <p>According to Hansons Auctioneers, the Duff-Gordons were accused of bribing their way off the now lost ship, but the allegation has never been proven.</p> <p>The infamous ship hit an iceberg at 11.40 pm ship’s time on April 14, 1912, and took two hours to completely submerge in the water killing over 1500 passengers.</p> <p>“This cigarette case in its own right is a wonderful object, but its provenance sends its importance soaring to titanic heights,” said Charles Hanson, owner of Hansons Auctioneers, in a <em><a rel="noopener" href="https://hansonsauctioneers.co.uk/blog/2018/08/why-this-gold-cigarette-cases-titanic-story-could-make-giant-waves" target="_blank">statement</a></em>. “The sinking of the Titanic has fascinated the world for more than 100 years and such was the Duff-Gordons’ impact on events their roles are played in 1997 movie ‘Titanic’.”</p> <p>Sir Cosmo Duff-Gordon was a highly respected landowner and accomplished fencer. His wife, a fashion designer, managed to escape the ship with her secretary and husband on Titanic’s Lifeboat Number 1, making them amongst the 12 survivors. The lifeboat, otherwise known as the “millionaires’ boat” by the British press, had a capacity of 40 people. Other passengers on board Lifeboat Number 1 were two other passengers with the remainder being crew members.</p> <p>“As the Titanic sank, it was claimed Lucy Duff-Gordon said to her secretary, ‘There is your beautiful nightdress gone’,” Hanson said. “A fireman, allegedly annoyed by her comment, replied that while the couple could replace their property, he and the other crew members had lost everything. Sir Cosmo then offered each of the men £5 (equivalent to about AUD$775 today) to aid them.”</p> <p>According to <em><a rel="noopener" href="https://www.encyclopedia-titanica.org/" target="_blank">Encyclopedia Titanica</a></em>, the landowner presented them each with their money once they reached safety, a decision that while seemingly generous, would cost Sir Cosmo his dignity.</p> <p>“In the aftermath of the tragedy, the couple were accused of buying their way off the boat, a story inflamed by the tabloid press. But at the British Board of Trade inquiry into the disaster, where the couple testified, Sir Cosmo was adamant he’d given the money as a gesture of goodwill to help the men. However, mud sticks and they were tainted by the incident for the rest of their lives,” Hanson said.</p> <p>On board the Carpathia, the ship’s purser Ernest Brown was responsible for helping the Duff-Gordons and was later awarded a medal for his role in the Titanic rescue operation.</p> <p><img style="width: 0px; height: 0px;" src="https://oversixtydev.blob.core.windows.net/media/7820381/titanic-au.jpg" alt="" data-udi="umb://media/680d8acf19644e8a82d0c2bb2f780b2f" /></p> <p>Because of this, the Duff-Gordons rewarded Brown by gifting him the Asprey gold cigarette case. The case is engraved with the message: “Ernest G F Brown RNR, in remembrance of kindness. SS Carpathia. From Sir Cosmo and Lady Duff Gordon.” On the front of the case, the initials “EB” is featured.</p> <p>The cigarette case, which will be up for auction on September 28 at Hanson’s, has a pre-sale estimate of $70,000 to $100,000.</p> <p>Previously, the sextant used by Carpathia’s captain sold for a little under US$97,000. Also, three photos and a handwritten note discussing the last lifeboat were sold for US$6,800.</p>

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Indigenous artefacts found at Sydney light rail construction site

<p>Indigenous heritage consultants are calling for an immediate halt to construction of a section of Sydney’s light rail after 20,000 Indigenous artefacts were found.</p> <p>The artefacts were identified in a 100-metre-square area around the line’s proposed tram stabling yard.</p> <p>Scott Franks, whose company was contracted to advise on indigenous heritage issues for the $2.1 billion light rail line, said this finding was of great significance.</p> <p>"There is nothing at all like this in Sydney," Mr Franks told <em>Fairfax Media</em>.  "You have material that's not from Sydney. It demonstrates a trading route, or that the mobs out of the Hunter Valley were working with the mobs in Sydney."</p> <p>Transport for NSW issued a statement recognising the significance of the discovery, “The social value of the site to the local Aboriginal community is very high and we are continuing to work with (the Aboriginal groups) to identify the artefacts and how they came to be found in Randwick.”</p> <p>But heritage consultants have demanded an immediate stop to construction.</p> <p>Greens MP David Shoebridge told <em>Fairfax Media</em> the Government’s response had been inadequate, “Already half of the site has been destroyed, the balance of the site is slated for destruction in the coming weeks. Transport for NSW... is seemingly more concerned about the construction timetable than the destruction of the site."</p> <p>For more information, watch the video above.</p> <p><em>Video credit: Facebook / Sydney Morning Herald </em></p> <p><strong>Related links:</strong></p> <p><span style="text-decoration: underline;"><em><strong><a href="/lifestyle/family-pets/2016/02/heartwarming-photos-that-prove-every-child-needs-a-pet/">15 heartwarming photos that prove every child needs a pet</a></strong></em></span></p> <p><span style="text-decoration: underline;"><em><strong><a href="/lifestyle/family-pets/2016/01/photos-of-animals-hitchhiking/">Hilarious photos of animals hitchhiking</a></strong></em></span></p> <p><span style="text-decoration: underline;"><em><strong><a href="/lifestyle/family-pets/2015/11/how-to-help-your-pet-conquer-their-phobias/">How to help your pet conquer their phobias</a></strong></em></span></p>

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A museum is looking for a boy who broke an artefact… to let him know everything’s OK

<p>When you enter a shop housing many fragile objects with a small child in tow, the first words out of one’s mouth are invariably, “Look, but don’t touch.” It’s a no-brainer. Even without malicious intent, accidents can always happen, so it’s best to be on the safe side, right?</p> <p>Well, imagine you’re visiting a museum with your young grandson, who is about 4 or 5-years-old, and the unthinkable happens – he knocks something over, shattering it. Nightmare situation. And if you’re mortified, think how the child would feel. That’s exactly what happened last year at the Christchurch Mansion, a museum in Ipswich, Suffolk, England. A small boy accidentally knocked over a historic jug, causing it to break into tiny pieces. According to museum staff, the little boy was inconsolable.</p> <p>But this story has a happy ending. The jug has since been expertly restored by museum staff, and Ipswich Mansion is now searching for the child in question to let him know that everything is okay. In a press release, a council spokesperson for the institution said, “We want to reassure the little lad that all is well. We would like to invite him and his family back to have a special tour and see the magically mended jug.”</p> <p>The now repaired jug, which is around 221 years old, broke into 65 pieces, and took only an hour to put back together.</p> <p><em>Image credit: Christchurch Mansion</em></p> <p><strong>Related links:</strong></p> <p><span style="text-decoration: underline;"><strong><em><a href="/news/news/2015/07/allens-lollies-axed/">Say goodbye to your favourite Allen's lollies</a></em></strong></span></p> <p><span style="text-decoration: underline;"><strong><em><a href="/news/news/2015/07/most-offensive-ad/">This is the most offensive ad on Australian TV this year</a></em></strong></span></p> <p><span style="text-decoration: underline;"><strong><em><a href="/news/news/2015/07/goat-and-kangaroo-best-friends/">Check out this wild goat hanging out with his best mate - a kangaroo</a></em></strong></span></p>

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100-year-old Anzac artefacts stolen and recovered in hours

<p>A veritable treasure-trove of World War I artefacts has been uncovered in the small central Queensland town of Emerald. The handwritten documents were produced by Private James Nicholas Murray, and include what are thought to be the most detailed maps of the time of Russel’s Top, a critical line of defence in the eight-month long battle at Gallipoli.</p><p>Private Murray, a licensed surveyor used only a compass and a piece of string to sketch out the trenches and tunnels above Anzac Cove, also recording his thoughts in a small diary. All this while under fire.</p><p>The documents were unearthed and recognised for their importance by Margaret Rawsthorne, a researcher from the Emerald RSL, and Murray’s grandson, Mark Murray, also a surveyor. Murray (the younger) had kept his grandfather’s work stored in a chest of drawers for years until s Rawsthorne asked to see it.</p><p>Not long after the documents were discovered and being prepared for display, a thief broke into Mark Murray’s office, making off with the entire collection. With public assistance and quick work by local police forces, however, all the documents were returned safely.</p><p>After visiting Emerald to inspect the maps and diary, Captain Andrew Craig, who is in charge of commemorating the Anzac Centenary in Queensland is now exploring ways to digitise the maps and field notes so that the public can access them.</p><p><span style="text-decoration: underline;"><strong><a href="http://www.abc.net.au/news/2015-01-26/anzac-james-nicholas-murrays-untold-story-discovered-in-emerald/6042422?section=ww1" target="_blank">You can explore Private Murray’s map here.</a></strong></span></p><p><a href="http://www.abc.net.au/news/2015-01-26/an-entry-from-private-james-nicholas-murray27s-diary/6042684" target="_blank"><em>Image credit: ABC</em></a></p>

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