All for a Silver Vase? Osman Hamdi Bey’s Indignant Resignation Letter from the Ottoman Imperial Museu

Tamur, Erhan

English

Universität Wien: OJS-Service

| 78 All	for	a	Silver	Vase?	Osman	Hamdi	Bey’s	Indignant	Resignation	Letter	from	the	Ottoman	Imperial	Museum	Erhan	Tamur				Author:	PhD.,	Lecturer,	Department	of	History	of	Art,	University	of	York	erhan.tamur@york.ac.uk		ORCID:	0009-0007-0215-9946					Keywords:	Ottoman	Imperial	Museum,	Osman	Hamdi	Bey,	Vase	of	En-metena,	archaeology,	politics,	19th	century				Cite	this	article:	Tamur,	Erhan.	“All	for	a	Silver	Vase?	Osman	Hamdi	Bey’s	Indignant	Resignation	Letter	from	the	Ottoman	Imperial	Museum”.		Keshif:	E-Journal	for	Ottoman-Turkish	Micro	Editions	3/3	(Summer	2025):	78-88.		Available	under	https://doi.org/10.25365/kshf-25-03-09.			_____________________________________________	Article	DOI	10.25365/kshf-25-03-09	Published	online	September	28,	2025	©	2025	Erhan	Tamur,	published	by	Keshif:	E-Journal	for	Ottoman-Turkish	Micro	Editions.	This	 is	 an	 Open	 Access	 article	 licensed	 under	 the	 Creative	 Commons	 Attribution	 4.0.	 International	License	(https://creativecommons.org/licenses/by/4.0/). Erhan	Tamur,	All	for	a	Silver	Vase?│79 Context	In	c.	2400	BCE,	a	ruler	in	southern	Mesopotamia	named	En-metena	ordered	that	a	vase	be	fashioned	and	dedicated	to	Ningirsu,	the	god	of	war	and	agriculture.	Mounted	on	a	copper	stand,	the	gleaming	body	of	the	vase	was	masterfully	hammered	from	a	single	sheet	of	silver.	It	was	decorated	in	two	registers	with	fine,	linear	incisions	of	couchant	calves	 arranged	 above	 a	 series	 of	 heraldic	 compositions	 featuring	 the	 lion-headed	Imdugud	 bird,	 Ningirsu’s	 symbol.	 As	 evidenced	 by	 the	 ekphrastic	 inscription	 in	 Su-merian	wrapping	around	its	mouth	and	referring	to	its	“refined”	silver,	it	was	appreci-ated	in	its	own	time	as	an	exquisite	work.1	About	 4300	 years	 later,	 an	 employee	 of	 the	Ottoman	 Imperial	Museum	named	Bedri	Bey	telegraphed	his	superiors	from	Nāṣiriyya	that	a	vase	had	been	unearthed	in	archaeological	 excavations	 led	by	 the	French	diplomat	Ernest	de	Sarzec	 in	Tello.2	As	the	1884	bylaw	on	antiquities	established	state	ownership	of	all	excavated	material	 in	principle,3	the	vase	arrived	in	Istanbul	and	was	displayed	in	the	Ottoman	Imperial	Mu-seum.	 This	 marked	 the	 start	 of	 a	 new	 episode	 in	 this	 object’s	 millennia-long	adventures,	which	were	soon	to	become	entangled	with	inter-	and	intra-governmental	controversies,	 the	 expansion	 of	 universal	 museums,	 and	 the	 use	 of	 antiquities	 as	bargaining	chips.	Right	after	the	excavation	of	the	vase,	Sarzec	called	it	his	“best	object,”	and	when	the	time	came	for	the	customary	division	of	finds,	the	French	team	leveraged	the	vase	to	secure	the	delivery	of	other	 important	sculptures.	Hence,	 the	vase	was	not	among	the	 objects	 that	 were	 handed	 over	 to	 the	 French	 Embassy	 in	 April	 1890.	 Still,	 Léon	Heuzey,	curator	at	the	Louvre	Museum,	negotiated	its	temporary	loan	for	restoration	 1		 For	the	inscription,	see	Douglas	Frayne,	Presargonic	Period,	2700-2350	BC	(Toronto:	University	of	Toronto	Press,	2008),	208–9.	2		 BOA,	MÜZ.	ARK.	10/78	(17	Nisan	1304/29	April	1888).	3		 For	 the	 full	 text	 of	 the	 1884	 bylaw,	 see	 “Āsār-ı	 ʿAtīḳa	Niẓāmnāmesi,”	Düstur,	 1.	 Tertib,	 4.	 Zeyl	(Dersaadet:	Maṭbaʿa-yı	ʿOsmāniye,	1302/1886),	89–97	(in	Ottoman	Turkish);	Hamit	Zübeyr	Koşay,	M.E.	Zarif	Orgun,	Sadi	Bayram,	and	Erdoğan	Tan,	Osmanlı	İmparatorluğu	ve	Türkiye	Cumhuriyeti	Çağlarında	 Türk	 Kazı	 Tarihi,	 vol.	 1/2	 (Ankara:	 Türk	 Tarih	 Kurumu,	 2013),	 794–99	 (in	 modern	Turkish)	 and	Nicole	Chevalier,	La	 recherche	archéologique	 française	 au	moyen-orient:	 1842–1947	(Paris:	Editions	recherche	sur	les	civilisations,	2002),	497–500	(in	French).	80 | Keshif:	E-Journal	for	Ottoman-Turkish	Micro	Editions,	Summer	2025,	vol.	3/3 purposes	and	highlighted	its	art	historical	significance	in	publications.	It	became	clear	that	the	Vase	of	En-metena	was	a	unique	find—the	earliest	surviving	silver	cult	vessel	from	ancient	Mesopotamia.	Meanwhile	 in	 Istanbul,	 the	 director	 of	 the	Ottoman	 Imperial	Museum,	Osman	Hamdi	Bey,	was	working	toward	the	institutionalisation	and	expansion	of	the	Museum	and	 the	 School	 of	 Fine	 Arts.	 It	 was	 within	 this	 context	 that	 Vincent	 Scheil,	 an	Assyriologist	affiliated	with	the	Imperial	Museum	informed	Heuzey	that	the	Ottoman	side	 was	 open	 to	 trading	 antiquities	 from	 Tello—including	 “even	 the	 Vase	 of	Entemena”—in	 exchange	 for	 books.4	 Indeed,	 there	 was	 an	 ongoing	 conversation	between	Heuzey	 and	Hamdi	Bey	 about	 the	 vase,	 the	 fate	of	which,	 according	 to	 the	former,	was	“in	the	hands	of”	the	latter.5	About	a	year	later,	Scheil’s	remark	came	close	to	fruition	when	Hamdi	Bey	infor-med	 the	 Ottoman	Ministry	 of	 Education	 that	 he	 had	 received	 a	 proposal	 from	 the	Louvre	with	 regards	 to	 the	 vase.	He	 added	 that	he	would	 support	 relinquishing	 this	object	 because	 the	Ottoman	 School	 of	 Fine	Arts	was	 in	 “extreme	need”	 of	 copies	 of	European	paintings	and	architectural	models	to	be	used	as	a	study	collection,	and	“this	vase,	 in	 terms	of	 its	quality,	 is	not	one	of	 those	antiquities	considered	 to	be	of	great	rarity,	nor,	for	that	reason,	extremely	necessary	to	the	Imperial	Museum,	one	can	see	no	inconvenience	in	accepting	the	proposal	that	was	made.”6	 4		 Nicole	 Chevalier,	 “De	 Tello	 au	 Louvre:	 les	 aventures	 du	 vase	 d’Entéména,”	 in	 Collectanea	orientalia:	 histoire,	 arts	 de	 l’espace	 et	 industrie	 de	 la	 terre:	 études	 offertes	 en	 hommage	 à	Agnès	Spycket,	 ed.	 Hermann	 Gasche	 and	 Bartel	 Hrouda	 (Neuchâtel	 and	 Paris:	 Recherches	 et	publications,	1996),	78.	The	Louvre	had	already	donated	sixty-five	volumes,	alongside	plaster	casts	of	some	statues	in	its	collection,	to	the	School	of	Fine	Arts	(see	BOA,	MÜZ.ARK.	10/83	(23	Eylül	1305/5	October	1889).	Hamdi	Bey	was	circulating	similar	inquiries	among	other	foreign	teams	as	well.	See,	 for	example,	Matthew	Ismail,	Wallis	Budge:	Magic	and	Mummies	 in	London	and	Cairo	(Kilkerran:	Hardinge	Simpole,	2011),	139.	5		 Letter	from	Heuzey	to	Hamdi	Bey,	25	January	1894,	quoted	in	Henri	Metzger,	La	correspondance	passive	 d’Osman	 Hamdi	 Bey	 (Paris:	 Diffusion	 de	 Boccard,	 1990),	 94.	 Cf.	 Edhem	 Eldem,	 “An	Ottoman	 Archaeologist	 Caught	 Between	 Two	 Worlds:	 Osman	 Hamdi	 Bey	 (1842–1910),”	 in	Archaeology,	Anthropology	and	Heritage	in	the	Balkans	and	Anatolia:	The	Life	and	Times	of	F.W.	Hasluck,	 1878-1920,	 ed.	 David	 Shankland	 (Piscataway,	 NJ:	 Gorgias	 Press,	 2010),	 145–46	 and	 his	important	 correction	 to	Metzger’s	 transcription	 on	 p.	146,	 n.	1.	 See	 also	 Edhem	 Eldem,	Osman	Hamdi	Bey	Sözlüğü	(Ankara:	Kültür	ve	Turizm	Bakanlığı,	2010),	272.	6		 Chevalier,	“De	Tello	au	Louvre,”	78	(my	translation).	Erhan	Tamur,	All	for	a	Silver	Vase?│81 This	 led	 to	 nothing	 short	 of	 an	 intra-governmental	 scandal.	Hearing	 about	 the	Louvre’s	proposal	and	Hamdi	Bey’s	position	on	this	matter,	a	royal	decree	was	issued,	ordering	the	formation	of	a	special	committee	to	decide	on	such	proposals—a	measure	that	would	essentially	undermine	Hamdi	Bey’s	authority.7	The	decree	also	ordered	the	delivery	of	the	vase	to	the	Imperial	Palace	for	examination	by	the	sultan	himself.		The	 letter	 published	 here	 is	 Hamdi	 Bey’s	 response	 to	 this	 request,	 which	concludes	with	his	resignation	attempt.8	His	resignation	apparently	came	as	a	surprise.	The	Minister	of	Education,	Zühdü	Pasha,	tried	hard	and	long	“to	appease	his	[Hamdi	Bey’s]	broken	heart,”9	and	after	much	convincing,	Hamdi	Bey	agreed	to	continue	in	his	post.	 Stressing	 that	 the	 value	 of	 his	 contributions	 could	 easily	 be	 established	 by	comparing	 the	 state	of	 the	 Imperial	Museum	before	and	after	he	 took	office,	Hamdi	Bey	 concluded	 that	 the	 individuals	 who	 circulated	 those	 serious	 accusations	 were	“immoral”	and	acted	with	“malice.”10	While	this	episode	makes	it	clear	that	the	fate	of	the	vase	was,	in	fact,	not	“in	the	hands	of”	Hamdi	Bey,	he	did	take	steps	to	re-enforce	his	authority.	Several	months	after	this	incident,	he	urged	the	Ministry	of	Education	to	inquire	with	the	Palace	to	see	when	the	vase	was	going	to	be	sent	back	to	its	“dedicated	space”	in	the	museum	galleries.	The	response	to	this	inquiry	was	terse:	the	vase	was	to	stay	with	the	sultan.11	This	 impasse	was	 resolved	rather	abruptly	on	8	February	 1896.	The	French	am-bassador	Paul	Cambon	was	invited	by	Abdülhamid	II	to	a	long	reception—an	“infernal	din,”	 as	 Cambon	 later	 described	 it—which	 did	 have	 one	 silver	 lining:	 “I	 asked	 the	Sultan	 on	 behalf	 of	 the	 Louvre	 for	 the	 famous	 silver	 vase	 from	 Tello,	 of	 which	Mr.	Heuzey	dreams	night	 and	day,	 and	His	Majesty	 gave	 it	 to	me.”12	 It	was	 as	 simple	 as	that.	 A	 few	 weeks	 later,	 the	 vase	 was	 received	 in	 Paris	 by	 Heuzey	 himself,	 who	 7		 BOA,	İ.HUS.	33/66	(3	Kānūn-i	Sānī	1310/15	January	1895).	8		 BOA,	MF.MKT.	247/1.3	 ([n.d.]	Kānūn-i	Sānī	 1310/[n.d.]	 January	 1895.	This	 letter	must	have	been	written	between	16–21	Kānūn-i	Sānī	1310	/	28	January–2	February	1895.	9		 BOA,	A.MKT.MHM.	534/13.2	(23	Kānūn-i	Sānī	1310/4	February	1895).	10		 BOA,	MF.	MKT.	247/1.8	(8	Şubat	1310/20	February	1895).	11		 BOA,	MF.MKT.	247/1.9	(27	Mart	1311/8	April	1895);	BOA,	BEO.	601/45029.2	(30	Mart	1311/11	April	1895);	BOA,	MF.MKT.	247/1.11	(3	Nisan	1311/15	April	1895).	12		 Paul	Cambon,	Correspondance.	 1870-1924	 (Paris:	Grasset,	 1940),	 1:401.	 See	 also	Cambon’s	 thank-you	note	dated	13	February	1896	(BOA,	Y.PRK.TŞF.	4/55).	82 | Keshif:	E-Journal	for	Ottoman-Turkish	Micro	Editions,	Summer	2025,	vol.	3/3 worriedly	wondered	if	it	“has	had	to	suffer	too	much	for	eighteen	months	at	the	hands	of	the	Messieurs	du	Sérail.”13	It	was	then	placed	prominently	in	“Le	Salle	de	Sarzec”	at	the	Louvre	in	a	dedicated	glass	case,	and	remains	one	of	the	most	celebrated	pieces	in	the	Mesopotamian	galleries.	By	violating	the	regulations	that	he	himself	sanctioned,	Abdülhamid	II	not	only	did	not	return	the	vase	to	the	Ottoman	Imperial	Museum,	but	he	went	so	far	as	to	“re-turn”	it	to	a	different	museum,	and	not	even	in	exchange	for	books	or	architectural	mo-dels.	Such	special	arrangements,	 initiated	by	the	sultan	or	at	times	by	Osman	Hamdi	Bey	himself,	were	part	and	parcel	of	the	politics	of	archaeology	and	museology	in	the	late	Ottoman	Empire.14	In	this	case,	the	sultan’s	gesture,	showcasing	his	incontestable	authority	 to	 his	 own	 subjects—Hamdi	 Bey	 included—as	 well	 as	 foreign	 dignitaries,	rendered	the	protracted	intra-governmental	controversy	and	Hamdi	Bey’s	resignation	nothing	but	a	footnote.		Transcription	Müze-i	Hümāyūn	numro	Maʿārif	neẓāret-i	celīlesine	Devletlü	efendim	ḥażretleri	Müze-i	 hümāyūna	 gelen	 āsār-ı	 ʿatīḳanıñ	 birer	 bahāne	 ile	 Avrupa	 müzelerine	gönderilmekde	 oldıġı	 ve	 ez-cümle	 bir	 buçuḳ	 sene	muḳaddem	 //	 bulunmuş	 olan	 bir	 sīm	destiniñ	 baʿżı	 antiḳa	 modelleriyle	 mübādelesi	 muteṣavver	 bulundıġı	 istiḫbār	 kılınmış	oldıġından	 //	 ẕikr	 olunan	 destiniñ	 manẓūr-ı	 ʿālī	 buyurulmak	 üzre	 taḳdīmi	 ve	 bir	ḳomisyon	 teşkīliyle	 baʿd-ez-īn	 o	 ḳomisyonuñ	 mażbaṭası	 //	 olmadıḳça	 bu	 misillü	muʿāmelātıñ	 icrāʾ	 olunmaması	 şeref-ṣudūr	 buyurılan	 irāde-i	 seniyye-i	 ḥażret-i	 ḫilāfet- 13		 Letter	from	Heuzey	to	the	French	Ministry	of	Education,	23	February	1896.	This	letter	is	quoted	in	full	 in	 Chevalier,	 “De	 Tello	 au	 Louvre,”	 80	 and	 partially	 in	 Maurice	 Pillet,	 “Hamdi-Bey	 et	 la	Mission	de	Sarzec	à	Tello,”	Revue	Archéologique	46	(July–December	1955),	7.	14		 Zeynep	Çelik,	About	Antiquities:	Politics	of	Archaeology	in	the	Ottoman	Empire	(Austin:	University	of	Texas	Press,	2016).	Other	 famous	examples	of	Abdülhamid	II’s	gifts	 include	the	sculptures	of	Ephesus	presented	to	Franz	Joseph	I	of	Austria	and	a	section	of	the	Mschatta	gate	given	to	Kaiser	Wilhelm	I	of	Prussia.	Erhan	Tamur,	All	for	a	Silver	Vase?│83 penāhī	muḳteżā-yı	celīlesinden	//	bulundıġı	mābeyn-i	hümāyūn-ı	mülūkāne	baş	kitābet-i	celīlesinden	 bā-teẕkire-i	 ḫuṣūṣīye	 vāḳiʿ	 olan	 teblīġ	 üzerine	 bā-teẕkire-i	 sāmīye	 //	 işʿār	buyurılub	 meẕkūr	 ḳomisyon	 derdest	 teşkīl	 bulundıġından	 mebḥūsün-ʿanh	 destiniñ	sürʿat-ı	tesyārı	//	şeref-vārid	olan	seksen	ṭoḳuz		numerolu	ve	16	kānūn-i	sānī	sene	[1]310	tārīḫli	 teẕkire-i	 ʿalīye-i	cenāb-ı	neẓāret-penāhīlerine	emr	ü	beyān	//	buyurulmuş	ve	ẕikr	olunan	 desti	 müze-i	 hümāyūn	 muʿāvini	 saʿādetlü	 Ḫalīl	 Bege	 tevdīʿen	 irsāl	 ü	 tāḳdīm	ḳılınmış	 //	oldıġını	 ve	müze-i	hümāyūna	gelen	āsār-ı	 ʿatīḳanıñ	birer	bahāne	 ile	Avrupa	müzelerine	 gönderilmekde	 oldıġına	 //	 	 dāʾir	 ʿācizlerine	 vāḳiʿ	 olan	 isnādı	 hīç	 bir	 vaḳt	ḳabūl	idemeyecegimden	bu	günden	iʿtibāren	müze-i	hümāyūna	//	devām	itmekte	maʿẕūr	bulundıġımu	ʿarż	iderim	ol-bābda	emr	ü	fermān	ḥażret-i	men-lehü’l-emriñdir	fī	Şaʿbān	sene	[1]312	ve	fī	Kānūn-i	Sānī	sene	[1]310	bende	Ḥamdī		Translation	Imperial	Museum	number		To	the	Exalted	Ministry	of	Education		Dear	illustrious	sir,	It	 was	 communicated	 by	 the	 exalted	 Chief	 Secretary	 of	 the	 Imperial	 Private	Apartments	of	His	Majesty	to	the	Grand	Vizieriate	that	because	 it	has	been	said	that	antiquities	 arriving	 at	 the	 Imperial	 Museum	 are	 being	 sent	 to	 European	 museums	under	various	pretenses,	and	that	a	silver	vessel	which	was	found	one	and	a	half	years	ago	may	be	exchanged	for	some	models	and	copies,15	an	imperial	decree	of	His	Majesty	the	Caliph	ordered	the	presentation	of	the	aforementioned	vessel	 for	the	observation	of	 His	 Majesty,	 as	 well	 as	 the	 formation	 of	 a	 commission,	 without	 the	 mandate	 of	which	these	sorts	of	dealings	are	no	longer	to	be	carried	out.	 15		 lit.	“antique	models,”	most	likely	referring	to	copies	of	paintings,	architectural	models,	and	casts.	84 | Keshif:	E-Journal	for	Ottoman-Turkish	Micro	Editions,	Summer	2025,	vol.	3/3 As	this	commission	has	been	formed,	the	speedy	delivery	of	the	aforementioned	vessel	was	ordered	in	the	ministerial	note	dated	16	Kānūn-i	Sānī	[1]310	[28	February	1895]	and	numbered	 89.	 Accordingly,	 the	 said	 vessel	 was	 dispatched	 and	 presented	 by	 the	Assistant	Director	of	the	Imperial	Museum,	Halil	Bey.16		Since	 I	 could	 never	 accept	 the	 accusation	 of	 sending	 antiquities	 that	 arrived	 at	 the	Imperial	Museum	to	European	museums	under	any	pretense,	I	respectfully	submit	that	I	must	excuse	myself	from	continuing	at	the	Imperial	Museum	from	this	day	forth.	In	that	regard,	the	command	belongs	to	him	who	commands	all.	January/February	1895	Your	servant,	Hamdi		 	 16		 Halil	 (Edhem)	 Bey	 was	 the	 younger	 brother	 of	 Osman	Hamdi	 Bey	 and	 succeeded	 him	 as	 the	director	of	the	Ottoman	Imperial	Museum	in	1910.	Erhan	Tamur,	All	for	a	Silver	Vase?│85 Illustration					Vase	 of	 En-metena,	 c.	 2400	 BCE;	 silver	 (vase)	 and	 copper	 alloy	 (stand);	H.	 30.4	 cm;	diam.	10	cm	(neck);	18	cm	(body);	excavated	at	Tello,	Iraq.	Musée	du	Louvre,	AO	2674.		Photo:	Musée	du	Louvre,	Public	domain,	via	Wikimedia	Commons.	 	86 | Keshif:	E-Journal	for	Ottoman-Turkish	Micro	Editions,	Summer	2025,	vol.	3/3 Facsimile					Osman	Hamdi	Bey’s	resignation	 letter,	addressed	to	the	Ministry	of	Education.	BOA,	MF.MKT.	247/1.3	([n.d.]	Kānūn-i	Sānī	1310/[n.d.]	January	1895).	Erhan	Tamur,	All	for	a	Silver	Vase?│87 Bibliography		Primary	Sources	Cumhurbaşkanlığı	Devlet	Arşivleri	Başkanlığı,	Osmanlı	Arşivi	(BOA):	Bab-ı	Ali	Evrak	Odası	(BEO),	601/45029	İrade	Hususi	(İ.HUS.),	33/66	Maarif	Nezareti	Mektubi	Kalemi	(MF.MKT.),	247/1	Müze-i	Hümayun	Müdüriyeti,	Arkeoloji	Müzesi	Evrakı	(MÜZ.	ARK.),	10/78,	10/83	Sadaret,	Mühimme	Kalemi	Evrakı	(A.MKT.MHM),	534/13	Yıldız,	Teşrifat-ı	Umumiye	Dairesi	(Y.PRK.TŞF),	4/55		Secondary	Sources	Cambon,	Paul.	Correspondance.	1870-1924,	3	vols.	Paris:	Grasset,	1940.	Çelik,	 Zeynep.	 About	 Antiquities:	 Politics	 of	 Archaeology	 in	 the	 Ottoman	 Empire.	Austin:	University	of	Texas	Press,	2016.	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All for a Silver Vase? Osman Hamdi Bey’s Indignant Resignation Letter from the Ottoman Imperial Museum

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All for a Silver Vase? Osman Hamdi Bey’s Indignant Resignation Letter from the Ottoman Imperial Museum

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