Japanese diary with pics of Jews saved from Nazis

Despite Japan’s alliance with Germany, Japanese officials collaborated to save thousands of Jews from Nazi-occupied Europe. The best known instance of a Japanese government employee defying Japanese immigration strictures to save Jews is Chiune Sugihara, an diplomat at the Japanese embassy in Lithuania who handed out travel visas to thousands of Jews in the early days of the war, even throwing blank visas out the window of his train as he left in August 1940 when the Russians annexed Lithuania.

Sugihara has been referred to as the “Japanese Schindler” because his transit visas allowed an estimated 6000 Jews to flee the country via the Trans-Siberian railway to Japanese-occupied Manchuria. He was honored in 1985 by Israel’s Yad Vashem Holocaust memorial as one of the Righteous Among the Nations.

Tatsuo Osako during WWII on a ship with unknown womanOnce Jewish refugees got to Japanese territory, however, there was a whole other bureaucratic mountain to climb. They were stateless, often penniless and dumped in Manchuria. The Japan Tourist Bureau, apparently with the permission of Foreign Ministry, agreed to help distribute aid money sent by Jews in the US to Jewish refugees in Japan. This infusion of funds covered the immigration requirements that Sugihara had so consistently not given a crap about, and gave the refugees the means to get by and make plans.

Tatsuo Osako was a Tourist Bureau employee assigned to act as an escort on ships carrying refugees across the Sea of Japan to port cities like Kobe and Yokohama where they could arrange for further transport. Osako kept pictures of some of the people he helped in a diary which was found in a drawer after his death in 2003. He didn’t write in the diary much, sadly, so all we know about who these people were is from their faces and the kind comments they wrote to Osako on the pictures.

I. Segaloff picture“My best regards to my friend Tatsuo Osako,” is scrawled in French on the back of the picture, which is signed “I. Segaloff” and dated March 4, 1941. His fate is unknown.

An effort is under way to find the people in these portraits or their descendants, all of whom are assumed to be Jewish. Personal photos of such refugees, who often fled with few possessions, are rare. […]

Akira Kitade, who worked under Osako and is researching a book about him, has contacted Israeli officials for help and visited the United States Holocaust Memorial Museum in Washington, D.C.

The museum said he gave it about 30 photographs that he is trying to identify, and received a list of over 2,000 Jews who received travel papers that enabled them to reach Japan.

The Israeli ambassador to Japan, Nissim Ben Shitrit, is optimistic that they will be able to locate some of the people in the pictures and/or their descendants.

The comments on the pictures are written in languages (German, Polish, French) that mirror Germany’s conquest of Europe. Osako himself was so circumspect about his war experience that not even his daughters knew about the people he helped save. All we have in his words are a few lines he wrote in 1995 for a college alumni publication.

Comment in Polish: 'A souvenir to a very nice Japanese man' signed Rozla“The Jews that I saw at that time had no passports and were stateless, they were refugees that had fled Europe and were generally downcast, some with vacant eyes that projected the loneliness of people in exile,” Osako wrote.

But he also had time to make friends along the way — he notes that some were very helpful in his duties, and he recalls seeing Jewish women “of a rarely seen beauty.”

Iconic “Charlotte’s Web” cover art sells for $155K

'Charlotte's Web' original cover drawing by Garth Williams, 1952The original graphite-and-ink drawing of Charlotte holding Wilbur while they look up at Charlotte’s web made by Garth Williams in 1952 sold at auction yesterday for $155,350. Heritage Auctions’ pre-sale estimate was $20,000 to $30,000. The final sale price is a record for any of Williams’ art. Included in the lot was an ink drawing of a web and 2 watercolors of the cover design.

'Charlotte's Web' watercolor of cover design, Garth Williams, 1952E.B. White’s book Charlotte’s Web was published in 1952 with Garth Williams’ soon to be iconic cover image. The book has been translated into 35 languages and was listed by Publishers Weekly in 2000 as the best-selling children’s paperback of all time. Williams’ drawing has remained the cover art throughout the entire 58 years of its publication run. Its endurance makes it the most-printed cover illustration of any book by an American author.

The tenderly rendered cover art is a sublime thing. The fine-lined 11×14 image features farmgirl Fern Arable clutching Wilbur the saved-from-slaughter pig, as the literate arachnid Charlotte spins her magic above the livestock. On the original can also be seen handwritten production marks.

Fiona, the eldest of Williams’s five daughters, was said to be his model for Fern Arable.

This was the first time the Williams’s family had put the art up for sale; Williams died in 1996

When Williams first starting doing illustrations in the 1940s, he would send the original drawings to the publisher, they would get used and then sent back. He kept his returned art during his lifetime. After his death, the family carefully preserved his oeuvre, securing it in a bank vault.

Yesterday they put 42 original Garth Williams illustrations for Charlotte’s Web on the auction block. The illustration of Wilbur looking triumphant under the web where Charlotte has written “TERRIFIC” sold for $95,600. My personal favorite since I was a girl because of how irresistibly adorably sweet Wilbur looks, the one where Fern is bottle-feeding Wilbur as a piglet, sold for $19,120. The final combined total for all of Williams’ 42 pieces was $780,245.

Fern feeding Wilbur by Garth Williams "Terrific' illustration from 'Charlotte's Web' by Garth Williams

Big reward for Scottish gold torc finder

Four gold torcs found in Stirling, Scotland, 300-100 B.C.David Booth, the amateur metal detector enthusiast who found a hoard of 4 gold torcs near Stirling, Scotland, last fall, will receive £462,000 ($740,000) as a reward. Not bad for his first time out with the wand.

Unlike the treasure laws in England which have been so sadly exposed in the matter of the Crosby Garret Roman cavalry helmet, Scottish law establishes all archaeological objects found in Scotland are the property of the government. Finders have no ownership rights and must report all finds to the Treasure Trove Unit. The Scottish Archaeological Finds Allocation Panel then studies the object and the circumstances of its discovery and determine where the find should go and how much the recipients should pay as an ex gratia reward to the discoverer.

In this case, the panel has determined that the torcs will go to the National Museums Scotland and £462,000 of their pounds will go to David Booth. The landowner of the property where the torcs were found will also receive a reward, probably in the same amount. If it works how it works in England, the panel assesses fair value then splits the amount between finder and landowner.

The decision was announced by the the Queen’s and Lord Treasurer’s Remembrancer Catherine Dyer, who as the Crown’s representative in Scotland can claim buried archaeological or historic items.

Ms Dyer said: “This is a very significant find, the most important hoard of Iron Age gold ever found in Scotland.

“That these stunning artefacts have been unearthed in such excellent condition after being buried for 2,000 years is simply amazing.”

The four torcs were just six inches beneath the surface when Mr Booth discovered them with his metal detector.

Professor Ian Ralston, chairman of Safap, said: “The panel is grateful to the finder for reporting these highly important finds in good time and for the further assistance from the finder during fieldwork by the National Museum at the site of the discovery.

“This has allowed much greater understanding of the archaeological context of these four exceptional items.”

Because of Booth’s quick reporting of his find, archaeologists were able to examine the site just a few hours after he disturbed it. They found evidence that the torcs had originally been buried inside a roundhouse. Since hoards are usually religious offerings or treasure buried under duress, it’s possible that the roundhouse was a religious building and the gold torcs sacrifices.

The torcs themselves are packed with historical significance. They date to between 300 and 100 B.C. Two of them are of a simple twisted designed likely to have been made locally. The third one is an annular torc broken into 2 pieces, which would have had a hinge and catch as a clasp but those parts are missing. Its elaborate design mark as it from Toulouse, and it’s the first of its kind ever found in the British Isles.

Fourth Stirling torcThe fourth torc is made from eight gold wires twisted together with decorated ends and a safety chain. These features are a combination of Mediterranean craftsmanship and traditional Iron Age themes, which suggests that Iron Age Scotland had more links to the Mediterranean than previously realized.

Dr Gordon Rintoul, Director of the National Museums of Scotland, says they’re delighted to have the opportunity to secure these unique artifacts for the national collection. They have to raise the money first and are looking into various funding options, she said obliquely. I’m not sure what happens if they can’t raise the full amount, but although Rintoul uses careful conditionals, I doubt they’re in any danger of not raising the reward money.

Five-year restoration of Giotto crucifix complete

Restored Giotto crucifix, Ognissanti Church, ca. 1320The massive 15-by-12-foot (and that’s just what’s left; 3 feet at the bottom are missing) crucifix that used to hang in the small and dim sacristy of the Ognissanti (All Saints) Church in Florence is finally at the end of its long 5 year restoration. It will be returned to a new place of honor in an LED-lit transept chapel on November 6th, because for the first time in centuries it will be on display as a work by late Medieval master Giotto.

The richly painted crucifix dates to the second decade of the 1300s, but before the restoration began, the painting was attributed to a student or family member of Giotto’s, not to the master himself. Last year, when the restorers from Florence’s famous conservation institute Opificio delle Pietre Dure were finally able to examine it under layers of grime, candle wax and smoke, they encountered familiar brush strokes and materials. Using infrared reflectography analysis, researchers found a preparatory sketch underneath the painting. The pictorial techniques used confirmed the work was done by Giotto.

The large (467×360 cm) cross took so long to be renovated because it was in a “very poor state of repair,” lead restorers Marco Ciatti and Cecilia Frosinini said, and the supporting structure had to be “thoroughly bolstered”.

They pointed out that cutting-edge solvents were used to remove centuries of grime while “extremely delicate attention” was taken with the coloured glass in Christ’s halo, which was “in very bad shape”.

As well as enabling the attribution, the restoration work also “revealed a lot of new information about how the artist worked,” they said.

The Church of Ognissanti had another Giotto made a decade before the crucifix. It’s a type of Madonna and Child known as a “Maestà,” Mary and the Christ child surrounded by angels. It was documented as a Giotto in the 15th century and is now in Florence’s Ufizzi Gallery as the “Ognissanti Madonna,” so it’s not shocking that the church had another one.

The only mystery at this point is how they forgot about it and ended up relegating the unattributed crucifix to such an obscure area.

Egypt jails 11 for negligence in Van Gogh theft

An Egyptian court has sentenced 11 Culture Ministry officials to three-year jail terms for negligence in the theft of Van Gogh’s Poppy Flowers from Cairo’s Mahmoud Khalil Museum in August. Deputy Minister Mohsan Shalan and the Khalil Museum’s former director were among the eleven.

The officials were charged with negligence and shortcomings in performing their duties that led to the loss of the painting from Cairo’s Mahmoud Khalil Museum.

An early investigation showed “flagrant shortcomings” in security at the museum, home to one of the Middle East’s finest collections of 19th- and 20th-century art.

Egyptian billionaire Naguib Sawiris offered a 1-million pound reward for information leading to the recovery of the painting, but it is still missing.

"Poppy Flowers"The Van Gogh painting, valued at $50 million, was stolen from the museum in broad daylight. Only 7 of the 43 security cameras were working, none of the alarms were, and the museum had recently drastically reduced its staff. There was only 1 security guard on shift, and when he went to pray the thieves slipped in, cut the painting out its frame and slipped out, sight unseen.

Mohsan Shalan and the other officials defended themselves by saying they had asked the ministry for $7 million to upgrade security systems at a number of Cairo museums, including the Mahmoud Khalil Museum, but they were granted a measly $88,000. So basically the “you see what I have to work with here” defense the Joker’s plastic surgeon tried on him.

Much like Jack Napier, Culture Minister Farouk Hosni didn’t find the argument persuasive. He testified against the defendants and denied criminally underfunding the museums. According to him, he delegated full responsibility for oversight of the Mahmoud Khalil Museum to Shalan who was given plenty of money by presidential decree. Documents Hosni introduced at trial included the decree approving over $10 million to renovate the museum.

It’s nice to have a buck handy that just happens to stop right below you, I suppose. We’ll see where this ends up. The former officials won’t be imprisoned right away. A bond of 10,000 Egyptian pounds ($1,800) will keep them out of prison until the appeal is decided.