Rosebud sells for $14.75 million

Rosebud, the iconic red sled whose name Charles Foster Kane uttered with his last breath triggering the plot of Orson Welles’ 1941 cinematic masterpiece Citizen Kane, has sold at auction for $14.75 million. It is the second most expensive object of movie memorabilia ever sold, after the pair of Ruby Slippers from The Wizard of Oz that sold last year for $32.5 million.

According to Orson Welles, only three balsa wood Rosebuds were made for the final scene of the film when the symbol of Kane’s lost innocence and joy is tossed into a furnace. Balsa was picked for the incineration scene because it’s lightweight and burns fast, which makes it fragile for long-term preservation. Of the three made, only one is known to have survived. Steven Spielberg bought it at Sotheby’s in 1982 for $60,500.

A second Rosebud appeared at auction 14 years later, but it was a heavier pine example made for the early scenes of Charles Foster Kane as a little boy playing with his sled in the snow just before the banker Walter Thatcher tears him away from his happy poverty with his beloved mother to a life of great wealth and even greater loneliness. That Rosebud ended up being given away as a contest prize by RKO Pictures in 1942. The winner was 12-year-old movie buff Arthur Bauer. He kept it for 50 years before putting it up for auction at Christie’s in 1996. It sold to an anonymous buyer for $233,500.

Spielberg’s balsa Rosebud and the Bauer pine Rosebud are the only two other confirmed authentic props from the film. The one that just blew their prices out of the water has a movie-like history of its own. It was rediscovered in 1984 by Gremlins director Joe Dante while he was shooting Explorers on the Paramount lot. A crew member cleaning out an old storage room found it and offered it to the director without realizing what a treasure it was. Joe Dante had it conserved, analyzed and radiocarbon dated to authenticate it. The scientific reports confirmed that it was made of pine matching the Bauer sled, and that the paint matched both the Spielberg and the Bauer sleds. Dante’s Rosebud has one feature the other two lack: a rope threaded through its runners that may have been used to hang it in storage.

Dante, the acclaimed director of Gremlins and The Howling, was no avid collector, but he of course recognized the sled’s importance, and he preserved it quietly for decades, even planting it as an Easter egg in four of his own films. Scientific testing confirmed the sled’s period authenticity, and like the others, it bears signs of production use, including original paint, wear, and removed rails likely sacrificed to wartime scrap drives. Rosebud is not just a prop — it’s a piece of cinematic legend, rescued by a beloved filmmaker and now returned to the spotlight.

Huge Celtic settlement found in Czech Republic

Archaeologists have unearthed an exceptional settlement from the La Tène period rich with amber, luxury ceramics, gold and silver coins near the city of Hradec Králové in the northern Czech Republic. Covering 25 hectares (62 acres), it is by far the largest Celtic settlement found in Bohemia, and unique in its features and scale as a trade and manufacturing center that grew and prospered on the ancient European Amber Road.

The site was discovered during an excavation along the route of planned highway construction. By fortunate happenstance, the site had never been subject to agricultural activity or to metal detectorists, leaving an great density of artifacts just a few inches into the topsoil. Archaeologists recovered an astonishing 22,000 bags of finds, one of the largest collections of artifacts ever found in Bohemia.

The team of archaeologists discovered hundreds of gold and silver Celtic coins, coin dies, fragments of ceramic vessels and a particularly rich collection of jewelry, including bronze and iron fibulae, armlets, metallic fixtures from belts, glass beads and amber. Structures found include the remains of homes, industrial production facilities and religious sanctuaries. It reached its peak in the 2nd century B.C., preceding the era of the oppidia, large fortified settlements with centralized administrative functions.

Tomáš Mangel, an archaeologist from the University of Hradec Králové, explains:

“The settlement was active from the very end of the 3rd century BC and ended in the early 1st century BC. It represents what we call a ‘central agglomeration’, a settlement with key economic and social functions.

“We’ve identified several pottery kilns, signs of glass processing, and finds of amber, which was a major trade commodity at the time. There’s also a large number of gold and silver coins, some of which were even minted right here on site.”

One particularly exceptional find is a ceramic shard engraved with a simple image of a horse, small enough to fit in the palm of a hand. According to experts, such finds are extremely rare in Europe.

The excavation is now complete and the artifacts are currently at the Museum of Eastern Bohemia where they are being cleaned, catalogued and studied. A small selection of artifacts will go on display within the next few months, but the more comprehensive exhibition will have to wait until all the objects have been analyzed and recorded.

Port structure from Late Antiquity found in Corsica

An excavation at Cap Corse, a peninsula on the rugged northern tip of Corsica, has uncovered the remains of a port structure from Late Antiquity, dating to the 4th-5th centuries A.D. A team from the French National Institute for Preventive Archaeological Research (INRAP) excavated the outcropping overlooking Meria Bay before construction. They uncovered large schist blocks and postholes indicating a wooden structure once stood above them. Archaeologists believe it was a wooden jetty.

These monoliths, some of which exceed 1.50 m in length, appear to have been deposited in a disorderly manner, without binder, but nevertheless form a very localized riprap cordon. They are then topped by a thin hydromorphic sequence, probably linked to an episode of overflow of the watercourse, followed by an alternation of stone levels (shale chips) and silty sedimentary contributions forming a flat stony surface 4 to 6 m wide and with an observed length of 13 m.

Monoliths topped with stonework. Photo courtesy Brice Chevaux, Inrap,The development, which extends over a thickness of almost 80 cm, is thus an extension of the substrate, against which it rests, and allows ground to be gained from the riverbed. Slightly larger blocks are positioned at the northern edge of the construction and act as supports for the structure.

The stone platform looks rough and disorganized, but it was structured and required a great deal of effort and planning to accomplish. The design suggests it was a wharf or dock where boats were moored and their cargoes unloaded. Close to 100 metal objects, many of them bronze nails that may have been used in the construction of the wooden superstructure, have been found.

The structure was dated to Late Antiquity thanks to the discovery of more than a thousand ceramic fragments found in the archaeological layer. Very few remains from Late Antiquity have been found in Corsica, so the discovery gives archaeologists a unique opportunity to study the period.

Prince’s tomb with massive false door found at Saqqara

Archaeologists have discovered the tomb of Userefre, the son of founder of the Fifth Dynasty, King Userkaf (r. 2465-2458 B.C.), in Egypt’s Saqqara necropolis. The tomb contains a massive false door made of pink granite 4.5 meters tall and 1.15 meters wide (14.8 by 3.8 feet). It is the first pink granite false door of such immense size ever found in Egypt.

False doors were a common feature in ancient Egyptian tombs. They were thresholds between the world of the living and the afterlife and only the souls of the deceased could enter and depart through them. The bereaved would leave offerings in front of the door. During this period in Egyptian history, false doors were primarily made of limestone which was readily available everywhere in the country. Pink and red granite, on the other hand, could only be sourced in Aswan 400 miles south of Saqqara, and were very hard to quarry and very heavy to transport. Only the aristocracy could afford it, and it’s a testament to Userefre’s importance that he had so huge a block of pink granite carved for the false door of his tomb.

Userefre’s false door is covered with hieroglyphics identifying him by name and his many titles, including “Hereditary Prince,” “Governor of Buto and Nekheb,” “Royal Scribe,” “Vizier,” “Judge,” and “Chanting Priest.” The round slab in the floor in front of the door where offerings were left is also made of pink granite carved with hieroglyphics. Near the door is a red granite offering table measuring 92.5 cm (3 feet) in diameter, inscribed with lists of ritual offerings.

Another unprecedented find is a statue group depicting King Djoser, his wife, and their ten daughters. These were not original to the tomb. They were relocated there from a chamber near Djoser’s Step Pyramid for an unknown reason. A black granite statue of a male figure 1.17 meters (3.8 feet) high was also transported to the tomb from elsewhere. Its sculptural style suggests it dates to the 26th Dynasty (ca. 688 to 525 B.C.) Archaeologists believe the Djoser group and the black granite statue were moved to the tomb at some time during the 26th Dynasty.

Only part of the tomb has been uncovered so far. Excavations are ongoing, and the team hopes to find the burial chamber soon.

Mosaic looted by Nazi officer returned to Pompeii

A mosaic of an intimate scene that was stolen from Italy during World War II has been repatriated to Pompeii. The mosaic on a slab of travertine was gifted to a German citizen, now deceased, by a captain of the Wehrmacht who had helped himself to it in 1944 during the German occupation of Italy. The officer was in charge of military supplies in Italy during World War II.

There are no more details about its origins on the record. The small amount of information we have comes from the heirs of the deceased who realized it had to have been illegally removed from Italy and voluntarily contacted authorities to return the mosaic.

Dating to between the middle of the 1st century B.C. and the 1st century A.D., the mosaic depicts a semi-nude woman with her back to the viewer reaching out to a semi-nude man reclining on a couch. This was a domestic scene rather than the erotic encounter from mythology that were the preferred motifs of the earlier Hellenistic era (4th-1st century B.C.). It is an important example of the transition from heroic figural iconography to domestic love as an artistic motif.

The mosaic is executed in the opus vermiculatum technique, figural mosaics made of small tesserae in undulating lines (vermiculatum means worm-like). This type of mosaic work was primarily used for emblemata, the most finely crafted, detailed panels at the center surrounded by floral and geometric motifs created with larger tesserae in the opus tessellatum technique.

Small emblemata with domestic scenes like this typically decorated the center of cubiculae, the bedrooms of Roman homes. There are a few comparable pieces — meticulous opus vermiculatum mosaics on travertine slabs — in the National Archaeological Museum of Naples, several of which are known to have come from the luxury villas of Stabiae. While its original home cannot be pinpointed with precision, experts from the Office for the Protection of Archaeological Heritage of the Archaeological Park of Pompeii were able to determine that it came from one of the towns under the shadow of Vesuvius.

The panel has been put on temporary display at the Antiquarium of Pompeii where it can be on view to the public pending further analysis and conservation.