In this episode, Stefanie and Jona are visiting the Museum Catharijneconvent in Utrecht (Netherlands), where an object stands right at the entrance, which Jona picked to take a closer look at: a medieval (ceremonial?) hammer built up based on an axehead from around 1000 BCE.

Image 1: Defining what a hammer is and that there are different hammer types.

While talking and observing the hammer from every possible perspective, the two podcast hostesses describe its materials, form, and explore the potential meanings. As Stefanie describes the object in quite detail, from the greenish polished stone, onto the silver casing with the gilded crown, and ending with the Latin inscription, the conversation dives into questions of reuse, symbolism, and ritual.

Image 2: Shows a close look at the serpentinite.

Following these observations, the episode captures their (FIRST TIME!) process of drawing and documenting the hammer, from noting weather and location in their sketchbooks to debating proportions and decorative motifs. Dragons, floral ornaments, and inscriptions add further layers to an artefact that embodies the tension between destruction and transformation: a prehistoric tool recast as the weapon of St. Martin, “the destroyer of idols.”

Image 3: Shows the hammer of Saint Martin from different view points to focus on the medieval modifications.

Image 4: Focuses on the inscription, the little ornaments and the translation.

Further References

* De Hamer van Sint-Maarten – Een klap voor de duivel, Historiek, 29 June 2023, “Het voorwerp dateert ongeveer uit 1000 voor Christus …” Last visited 17 September 2025. https://historiek.net/hamer-van-sint-maartenshamer/87185/ Historiek

* Museum Catharijneconvent, “Details – Collectie 41976: Hamer van Sint-Maarten”, Adlib Internet Server. Last visited 17 September 2025. https://adlib.catharijneconvent.nl/Details/collect/41976 adlib.catharijneconvent.nl+2utrechtaltijd.nl+2

* “Sint-Maarten haalt een man terug uit de dood”, Hunebednieuwscafe, January 2023. Last visited 17 September 2025. https://www.hunebednieuwscafe.nl/2023/01/donderbijlen/ Het Hunebed Nieuwscafé

* “Hamer van Sint-Maarten en Fokker: Utrechtse stukken in Canon van Nederland”, RTV Utrecht. Last visited 17 September 2025. https://www.rtvutrecht.nl/nieuws/1679589/hamer-van-sint-maarten-en-fokker-utrechtse-stukken-in-canon-van-nederland adlib.catharijneconvent.nl

* “St. Maarten (ca. 316-397), bisschop van Tours …”, Meertens Instituut / Bedevaart, “Plaats 1060: Utrecht, H. Maarten (Martinus) / andere heiligen”, Bedevaart database. Last visited 17 September 2025. https://bedevaart.meertens.knaw.nl/plaats/1060

Image references

Image 1: Drawing a Hammer

* War Hammer from the online collection of The Met: https://www.metmuseum.org/art/collection/search/25073

* The Hammer of Saint Martin by Rijksdienst voor het Cultureel Erfgoed, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=23822667

Image 2: Serpentinite

* The picture focusing on the axehead by MPhernambucq - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=112949413

* Photograph without the silver coating from 1918 by J.J.A. van Wisen, https://hetutrechtsarchief.nl/beeldmateriaal/detail/b5e53d8e-1c60-51b8-aaae-6c3456a8935c/media/17115062-d210-3c34-4859-5b503dbc07ed?mode=detail&view=horizontal&q=hamer%20van%20St.%20Maarten&rows=1&page=3

Image 3: The medieval Modifications

* Side view of the hammer of Saint Martin by Rijksdienst voor het Cultureel Erfgoed, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=23822667

* Front view of the hammer of Saint Martin by Rijksdienst voor het Cultureel Erfgoed, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=23822665

* Back view of the hammer of Saint Martin by Rijksdienst voor het Cultureel Erfgoed, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=23822663

Image 3: The inscription

* Drawing of the inscriptions by Jona Schlegel, based on the pictures available on the website of Museum Catharijneconvent, CC0, https://commons.wikimedia.org/w/index.php?curid=38433184

Credits

* Intro and outro music: “Meeting for Two – Background Music for Video Vlog (Hip Hop version, 43s)” via Pixabay Music by White_Records

* Research behind the script: Jona Schlegel

* Editing and post-production: Jona Schlegel

* Cover art: Stefanie Ulrich

Things We Threw Away – Where to Find the Podcast

* TWTA on Substack – Updates, transcripts, and reflections from the project

* TWTA on Spotify – Listen and follow via Spotify

* TWTA on Apple Podcasts – Available through the Apple Podcasts directory

* TWTA on Instagram – Visual updates, behind the scenes, and illustrated content

* TWTA on Bluesky – Public discussions, reflections, and cross-links

Projects by the team members

Jona Schlegel

* Follow on Instagram (@archaeoink): Visual science communication through illustration, websites and archaeology

* jonaschlegel.com: Portfolio and background on archaeological communication, coding, and design

* archaeoink.com: Illustrated archaeology, blog posts, newsletter, and research-based visual storytelling

* pastforwardhub.com: A platform for (freelance) archaeologists who want to create a more sustainable career, be visible, and connect with others

Stefanie Ulrich

* Follow on Instagram (@thepublicarchaeologist): Photography of archaeological objects, and material encounters with a special focus on ancient Rom

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit thingswethrewaway.substack.com

In this episode of Things We Threw Away, we (Jona and Stefanie) look at provenance and provenance research with the help of three examples. We will explore why it is important for objects, artefacts and even archaeological sites to know where an object comes from.

Provenance research tells us “by whom, when and where an artwork/object was created and who has possessed it during its history, including enquiring into and revealing the circumstances and substantive nature of sequential changes of ownership or possession or both.” (Tompkins 2020: 23). From the available information, we are able to piece together the history of the object and understand its significance in the present.

The three main fields in which provenance research is used are: Nazi looted art, colonialism and the antiquities trade.

Nazi-looted art refers to works of art (or any object) that were confiscated by the Nazi regime, or sold under duress, between 1932/1933 and 1945. There are numerous examples, and it is worth checking some of the websites below for detailed case studies of other objects. As a well-researched and positive example of restitution, we looked at the painting by J. M. W. Turner titled Glaucus and Scylla.

The painting was finished in 1841 and then sold to a private owner at the Royal Academy exhibition in London. Around 60 years later, in 1902, the painting was acquired by the Jewish collectors Anna and John Jeffé. In 1943, the pro-Nazi Vichy government forcibly took it from them. It is unknown who owned the painting from 1943 until 1956. The painting resurfaces in 1956 in London, where it is sold to an art gallery in New York. In 1966, it was acquired by the Kimbell Art Museum in Fort Worth, Texas. Following the efforts of one of the heirs of the Jeffé family, the painting was discovered online and finally restituted to the heirs on 25 June 2006. A year later, it was repurchased by the Kimbell Art Museum, which has since been very open about the provenance of the painting.

Research into provenance is also used in the context of objects from former European colonies. This is particularly relevant to those who came to Europe under less than clear circumstances or with force.

In this case, we selected an item from the Wereldmuseum in Amsterdam. A significant research project, PPROCE (Pilot Project Provenance Research on Objects of the Colonial Era) was conducted to look into objects in several museums that have no or little provenance. The object in question, a ceremonial kris, was assumed to be from Indonesia. However, research into the object has shown that it could not be determined where it came from exactly or when it entered the Netherlands. There are two theories: 1. The artefact may have belonged to a man named "H. J. Domis" referring to Hendrik Jacob Domis, who was a civil servant in the ports of Semarang, Pasuruan, and Surabaya on the north coast of Java from 1812 to 1834. The second theory is that it was taken by the British in 1812. The object will remain in the Rijksmuseum, as its exact provenance cannot be ascertained. At least for the time being.

The illicit antiquity trade is the final field in which provenance research will be discussed. In this context, it typically refers to objects from the so-called source countries, such as Italy or Greece, as well as from war zones, including objects from Iran or Syria.

The object that forms the case study for this was, for a while at least, part of the collection in the Allard Pierson Museum in Amsterdam. It is a red-figure pyxis from the 3rd century BC, originally from Centuripe in Sicily. It came to the museum in 1997 through a dealer called Herbert Cahn. An association called SiciliAntica was going through a photo archive and found that the item had been taken out of Sicily illegally. A public prosecutor from Italy sent a letter to the museum in 2017, asking for the object to be returned to Sicily. The item has now been returned to Sicily in 2024.

Topics with References

General

* Looted Art: Provenance Research and Resitution in the Netherlands: https://ahm.uva.nl/content/research-groups/looted-art-provenance-research-and-restitution-in-the-netherlands/looted-art-provenance-research-and-restitution-in-the-netherlands.html?cb

* Tompkins, A. (ed.) 2020. Provenance Research Today - Principles, Practice, Problems.

* Staatliche Museen zu Berlin, Preußischer Kulturbesitz, Provenance Research: https://www.smb.museum/en/research/provenance-research/

* Cultural Heritage Agency, Ministry of Education, Culture and Science: Provenance Research: https://english.cultureelerfgoed.nl/topics/cultural-goods-from-a-colonial-context/provenance-research

* Colonial Collections Committee: https://committee.kolonialecollecties.nl/

* Getty Provenance Index: https://www.getty.edu/databases-tools-and-technologies/provenance/

Case 1: Nazi looted art

* Kimbell Art Museum, Forth Worth Texas: https://kimbellart.org/collection/ap-196611

* Monument Men and Women Foundation Website: https://www.monumentsmenandwomenfnd.org/resources/art-restitution-cases?srsltid=AfmBOopwozyEUCoapWQWcOFiIV8i12f4EpAhgxjw6wq4hgiDL7GaABw3

Case 2: Colonialism

* PPROCE: https://amsterdam.wereldmuseum.nl/en/about-tropenmuseum/research/provenance-research-colonial-era

* Royal Netherlands Academy of Arts and Sciences (KNAW), Provenance report regarding Staatsiekrissen (Ceremonial Krisses): https://pure.knaw.nl/ws/portalfiles/portal/488924810/RAP_PPROCEprovenanceReport_05_Staatsiekrissen_RV360_5393and5394_v10_202203.pdf

* Final report of the research project: https://pure.knaw.nl/ws/portalfiles/portal/496442096/RAP_PPROCE_FinalReport_ENG_v10_202203.pdf

* Clues, Research into provenance history and significance of cultural objects and collections acquired in colonial situations, NIOD: https://www.niod.nl/en/publications/clues-PPROCE

* Provenance Series, Wereldmuseum Amsterdam: https://amsterdam.wereldmuseum.nl/en/about-wereldmuseum-amsterdam/research/provenance-series

Case 3: Illicit Antiquities

* Scanning for restitution: documenting the Allard Pierson’s Centuripe pyxis using cross-polarisation photogrammetry and RTI: https://uvaauas.figshare.com/articles/journal_contribution/4DRL_Report_Series_8_-_Scanning_for_restitution_Documenting_the_Allard_Pierson_s_Centuripe_pyxis_using_cross-polarisation_photogrammetry_and_RTI/25620759?file=45698124

* SiciliAntica, Continua la Missione possibile di SiciliAntica Centuripe: https://www.siciliantica.eu/continua-la-missione-possibile-di-siciliantica-centuripe/

* Pyxis information and provenance research Allard Pierson Museum, Amsterdam: https://www.allardpierson.nl/en/search?q=pyxi

Image references

Image References: Page 1 – J. M. W. Turner

* J.M.W. Turner, Glaucus and Scylla: image taken from the Kimbell Art Gallery, Forth Worth, Texas website: https://kimbellart.org/collection/ap-196611

Image References: Page 2 – Ceremonial Kris

* Ceremonial Kris; T. Quist (2022) Provenance report regarding Staatsiekrissen (Ceremonial Krisses): https://pure.knaw.nl/ws/portalfiles/portal/488924810/RAP_PPROCEprovenanceReport_05_Staatsiekrissen_RV360_5393and5394_v10_202203.pdf

Image References: Page 3 – Pyxis

* Photos taken by Stefanie while visiting the Allard Pierson Museum

Things We Threw Away – Where to Find the Podcast

* TWTA on Substack – Updates, transcripts, and reflections from the project

* TWTA on Spotify – Listen and follow via Spotify

* TWTA on Apple Podcasts – Available through the Apple Podcasts directory

* TWTA on Instagram – Visual updates, behind the scenes, and illustrated content

* TWTA on Bluesky – Public discussions, reflections, and cross-links

Credits

* Intro and outro music: “Meeting for Two – Background Music for Video Vlog (Hip Hop version, 43s)” via Pixabay Music by White_Records

* Story interlude/underlying music: “Medieval Ambient” via Pixabay Music by DeusLower

* Research behind the script: Stefanie Ulrich

* Editing and post-production: Jona Schlegel

* Cover art: Stefanie Ulrich

Projects by the team members

Jona Schlegel

* Follow on Instagram (@archaeoink): Visual science communication through illustration, websites and archaeology

* jonaschlegel.com: Portfolio and background on archaeological communication, coding, and design

* archaeoink.com: Illustrated archaeology, blog posts, newsletter, and research-based visual storytelling

* pastforwardhub.com: A platform for (freelance) archaeologists who want to create a more sustainable career, be visible, and connect with others

Stefanie Ulrich

* Follow on Instagram (@thepublicarchaeologist): Photography of archaeological objects, and material encounters with a special focus on ancient Rome.

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit thingswethrewaway.substack.com

In this episode of Things We Threw Away, we (Jona and Stefanie) look at the the definition of archaeology and explore the role of amateur archaeologists in advancing our understanding of the past. The question “When is an archaeologist made?” is put into the room, and based on personal experiences we conclude that curiosity, a good observation skill, systematic enquiry and a dash of luck are important in discovering and furthering research about the past – and that can be regardless of a formal background.

Image 1: Lascaux Cave and Context

The discussion centres on two stories about enthusiasts connected to the Lascaux cave system in France's Dordogne region. The first one tells of Marcel Ravidat (17 year old at that time), his dog and friends who, in September 1940, discovered an archaeological sites, which first he thought was a secret passage way to Lascaux manor. What began as an exploration of a narrow cave opening revealed prehistoric cave paintings of great detail and artistic sophistication, depicting bison, horses, and deer that had remained hidden for thousands of years.

Image 2: Discovery of the Cave

The second story follows Bennett (Ben) Bacon, a London furniture conservator and independent researcher whose interest and diligence for prehistoric cave art led him to notice patterns in these paintings not only tied to Lascaux but also other palaeolithic caves across Europe.

Image 3: The Replica and Public Engagement

Bacon's careful study of small dots and Y-shaped symbols accompanying the painted animals resulted in a revolutionary theory: these marks represent a proto-writing system recording seasonal information about animal behaviour, particularly birthing cycles crucial for hunting and survival.

Image 4: Proto-Writing and Lunar Calendar

In the last part, we introduce the concept of archaeological journaling, which in the way we propose it, is an adaptation of nature journaling. This approach encourages detailed recording of archaeological objects (which could also be done for archaeological sites or contexts) through sketches, notes, diagrams, and even noting down sensory observations like sounds and smells. Like in nature journaling, also in archaeology journaling artistic skill matters less than careful observation and personal engagement with the material. And we want to encourage everyone to take up a pen and a sketchbook and join us on our journey to sketch and explore object biographies in this new podcast series.

Literature references

The Lascaux cave today

* The official virtual tour of the Lascaux cave, including panoramic navigation and detailed views of major chambers: Lascaux Cave Virtual Visit

* A Google Street View 360° experience through parts of the Lascaux cave replica, offering spatial orientation within selected galleries: Lascaux Cave on Google Maps

* A focused art historical analysis of the Hall of Bulls and its stylistic and compositional elements: Hall of Bulls – Lascaux by Mary Beth Looney

* A report on the museum complex adjacent to Lascaux, created to preserve the original site while offering public access through high-fidelity replicas: Next to the Original, France Replicates Prehistoric Cave Paintings

The discovery of Lascaux

* A short timeline entry on the discovery of the Lascaux cave paintings on 12 September 1940, highlighting its historical significance: Lascaux Cave Paintings Discovered – This Day in History

* An overview of the Lascaux cave art, its discovery, and interpretation, including visuals and contextual information: Lascaux Cave Paintings

* A narrative article exploring how a dog named Robot led to the discovery of the cave, alongside details of the teenage boys involved: How Did a Dog Discover the Lascaux Cave Paintings?

* A concise research summary on the artistic and archaeological significance of Lascaux, written for general audiences: Lascaux Cave Paintings Are Discovered

* A general encyclopaedia entry on cave art, including Lascaux among key sites discussed, with emphasis on techniques, themes, and chronology: Cave Art

Ben Bacon discovers a proto-writing system

* The published paper on the proto-writing system by Bennett Bacon, Azadeh Khatiri, James Palmer, Tony Freeth, Paul Pettitt and Robert Kentridge

* A blog post with a short description of the proto-writing systemby Liz Goldsmith

* A chapter on gesture and graphic expression in early humans by Leroi-Gourhan (Chapter 6 from Gesture and Speech)

* A brief discussion of a possible fish depiction at La Pileta cave, interpreted as a Paleolithic halibut representation, raising questions about fishing practices and symbolic imagery: Paleolithic Fishing – La Pileta Halibut

* A detailed analysis of narrative structure and spatial composition in Palaeolithic cave art, focusing on sequencing and repetition in the Lascaux Shaft Scene: Cauwe, N. (2013). Narrative and Repetition in Palaeolithic Parietal Art (Palethnologie, 5)

Archaeology Journaling

* A practical guide on how to start and grow a nature journaling practice, including prompts, mindset, and techniques: Nature Journaling – Starting and Growing

* An introductory resource outlining what nature journaling is, its educational value, and its impact on observation and curiosity: What Is Nature Journaling?

* A comprehensive manual combining drawing instruction and journaling tips by John Muir Laws, focusing on engaging with nature through observation: The Laws Guide to Nature Drawing and Journaling

* A companion volume with practical strategies for teaching nature journaling, suitable for educators, parents, and facilitators: How to Teach Nature Journaling

* A foundational work introducing nature journaling as a personal and scientific practice, co-authored by Clare Walker Leslie and Charles E. Roth: Nature Journaling

Image references

Image 1: Lascaux Cave and Context

* A schematic map showing the location of the Lascaux cave in France, including an outline of the cave system itself: De Gruyter Brill – Fig. 13.1 [accessed 31 July 2025, 15:03 CEST]

* A detailed photograph of the Unicorn Panel in the Hall of the Bulls, Lascaux Cave, France. Photo by N. Aujoulat © MCC-CNP: De Gruyter Brill – Fig. 13.2 [accessed 1 August 2025, 10:31 CEST]

* A close-up of the bulls on the left wall of the Hall of the Bulls, from Lascaux II (the public replica of the original cave, c. 16,000–14,000 B.C.E.): Khan Academy – Lascaux [accessed 1 August 2025, 10:53 CEST]

Image 2: Discovery of the Cave

* A historic image of Marcel Ravidat (second from left) at the Lascaux cave entrance in 1940: On This Day article [accessed 1 August 2025, 11:05 CEST]; image hosted by: TheCollector – Discovery of Lascaux [accessed 1 August 2025, 11:11 CEST]

* Reunion photograph of Marcel, Simon, Georges, and Jacques, the original discoverers, standing at the Lascaux entrance in 1986: TheCollector – Lascaux Discoverers [accessed 1 August 2025, 11:14 CEST]; original via: Simon Coencas tribute [accessed 1 August 2025, 11:27 CEST]

Image 3: The Replica and Public Engagement

* A photograph of Lascaux II, the replica cave created for public access: France Bleu – Lascaux II [accessed 1 August 2025, 11:34 CEST]

Image 4: Proto-Writing and Lunar Calendar

* A photo of independent researcher Ben Bacon, who analysed notational systems in cave art: Hull Daily Mail – Portrait of Ben Bacon [accessed 1 August 2025, 11:46 CEST]

* A comparative visual plate of animal depictions and dot/line sequences, interpreted as notational markings:

* Aurochs (Lascaux, late period): Wikimedia Commons – Lascaux Aurochs [accessed 1 August 2025, 11:48 CEST]

* Aurochs (La Pasiega): image after Breuil et al. 1913, pl. XVIII

* Horse (Chauvet): Archived image [accessed 1 August 2025, 11:52 CEST]

* Horse (Mayenne-Sciences): Hominidés – Grotte Mayenne-Sciences [accessed 1 August 2025, 11:53 CEST]

* Red Deer (Lascaux): Wellcome Collection – CC BY 4.0 [accessed 1 August 2025, 12:01 CEST]

* Salmon (Abri du Poisson): © The Wendel Collection, Neanderthal Museum

* Salmon (?) and Mammoth (Pindal): images after Berenguer (1994, fig. 63) and H. Breuil in del Rio et al. (1911, fig. 57)

Source reference: Cambridge Archaeological Journal (2023). DOI: 10.1017/S0959774322000415 [accessed 1 August 2025, 12:03 CEST]

Things We Threw Away – Where to Find the Podcast

* TWTA on Substack – Updates, transcripts, and reflections from the project

* TWTA on Spotify – Listen and follow via Spotify

* TWTA on Apple Podcasts – Available through the Apple Podcasts directory

* TWTA on Instagram – Visual updates, behind the scenes, and illustrated content

* TWTA on Bluesky – Public discussions, reflections, and cross-links

Credits

* Intro and outro music: “Meeting for Two – Background Music for Video Vlog (Hip Hop version, 43s)” via Pixabay Music by White_Records

* Story interlude/underlying music: “Medieval Ambient” via Pixabay Music by DeusLower

* Research behind the script: Jona Schlegel

* Editing and post-production: Jona Schlegel

* Cover art: Stefanie Ulrich

Projects by the team members

Jona Schlegel

* Follow on Instagram (@archaeoink): Visual science communication through illustration, websites and archaeology

* jonaschlegel.com: Portfolio and background on archaeological communication, coding, and design

* archaeoink.com: Illustrated archaeology, blog posts, newsletter, and research-based visual storytelling

* pastforwardhub.com: A platform for (freelance) archaeologists who want to create a more sustainable career, be visible, and connect with others

Stefanie Ulrich

* Follow on Instagram (@thepublicarchaeologist): Photography of archaeological objects, and material encounters with a special focus on ancient Rom

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit thingswethrewaway.substack.com

We are Jona, a landscape archaeologist and visual science communicator, and Stefanie, a classical archaeologist and ancient historian.

Together, we get to explore archaeological objects and tell their stories, in the past and the present. We use research and drawing, including archaeology journaling, to engage with the objects, rethink how we interpret them and raise questions. We'll take a look at an object and the journey it's been on. We'll follow its path through time, starting with how it was made, modified and used - and how it got lost, how it was found again, and what research tells us about its interpretation today.

Music credits: White Records, Meeting for Two

https://pixabay.com/nl/music/beats-meeting-for-two-background-music-for-video-vlog-hip-hop-version-43sec-222254/

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit thingswethrewaway.substack.com