Alfred Rosenberg, who authored the diary. The influential Nazi Party member was convicted at Nuremberg of war crimes and hanged in 1945. Image courtesy of Wikimedia Commons. WASHINGTON (AFP) – The U.S. Holocaust Memorial Museum took possession Tuesday of a Nazi war criminal’s long-lost diary and posted it online to help researchers understand the thinking behind Adolf Hitler’s mass extermination of Jews.
The Rosenberg Diary, kept by a confidant of Adolf Hitler whose racist theories underpinned Nazi Germany’s annihilation of six million Jews and five million others, had been missing since the Nuremberg war crimes trials ended in 1946.
For years the museum had been working with U.S. judical officials and law enforcement agents to recover Alfred Rosenberg’s writings, most recently in the hands of an academic publisher in upstate New York.
“Today that search ends,” said museum director Sara Bloomfield at a ceremony where the U.S. government formally transferred possession of the 425 pages of typed and handwritten papers.
“It’s in its proper home.”
The entire diary is available to the public in the archives section of the museum’s website (www.ushmm.org) alongside a transcript in German, with hard-copy versions expected from next year. It covers a 10-year period from 1934.
The U.S. Immigration and Customs Enforcement agency, which spearheaded the diary’s recovery, said it was first taken in the late 1940s by a Nuremberg prosecutor, Robert Kempner, “contrary to law and proper procedure.”
Kempner, a German-Jewish lawyer who escaped to the United States during World War II and settled in Pennsylvania, held on to the diary until his death in 1993.
Some early pages, used at the Nuremberg trials, have been in the possession of the Holocaust Memorial Museum in original and copied form.
But the vast bulk of the diary remained missing until November 2012 when the U.S. Attorney’s office in Delaware and Homeland Security special agents got a tip from an art security specialist working with the museum.
The diary was ultimately traced to the home of academic publisher Herbert Warren Richardson outside Buffalo, N.Y. He had apparently received them from one of Kempner’s assistants.
Through legal proceedings, the U.S. government reasserted ownership of the papers, which prior to the Nuremberg trials had been seized by U.S. military occupation forces in Germany at the end of World War II.
In his role as the Nazis’ chief racial theorist, Rosenberg was instrumental in developing and promoting the notion of a German “master race” superior to other Europeans and, above all, to non-Europeans and Jews.
Captured by Allied troops at the end of the war, Rosenberg was convicted at Nuremberg of war crimes and executed in Oct. 1946. He was 53.
ADDITIONAL IMAGE OF NOTE
Alfred Rosenberg, who authored the diary. The influential Nazi Party member was convicted at Nuremberg of war crimes and hanged in 1945. Image courtesy of Wikimedia Commons.
Original Polaroid print of Farah Fawcett by Andy Warhol. Image courtesy of LiveAuctioneers.com Archive and Dreweatts and Bloomsbury. LOS ANGELES (AFP) – A jury is considering its verdict in a trial pitting veteran actor Ryan O’Neal against his ex-lover Farrah Fawcett’s old college, over an Warhol painting of the late Charlie’s Angels star.
Former Charlie’s Angels co-star Jaclyn Smith broke down in tears on the last day of testimony Monday after a two-week trial in Los Angeles, where Fawcett died in 2009.
“I think the most important thing would be imagining what Farrah would want,” she said outside court, cited by the Los Angeles Times. “I really feel Farrah would want that portrait with Ryan.”
The University of Texas, where Fawcett studied as a young woman, is suing O’Neal after the painting was spotted in the actor’s home during an episode of reality TV show Ryan and Tatum: The O’Neals.
The university says Fawcett bequeathed all her artwork to her alma mater when she died, and it insists the Warhol painting should be displayed in a museum next to a near-identical portrait of the late actress.
O’Neal’s lawyers say Warhol gave one portrait to Fawcett and the other to O’Neal.
Defending himself during the trial, the 72-year-old said the portrait belonged to him, but he had left it at her home because his new girlfriend “was uncomfortable with Farrah staring at her” from the wall at his own home.
He said he removed the work from Fawcett’s Wilshire Boulevard condominium shortly after she died of cancer on June 25, 2009 at 62.
But that changed after Fawcett caught him with another woman, when she let herself into his home in 1997.
“She was hurt, she was in shock,” he said, adding that he subsequently asked Fawcett to take the painting and keep it for him.
“I asked her to keep the portrait with her, store it for me, because my young (girlfriend) was uncomfortable with Farrah staring at her,” he told the court.
Fawcett was born in Texas and went to college there for three years, but left without graduating after being “discovered” and moving to Los Angeles to pursue an acting career.
But she remained loyal to her alma mater. “Farrah never forgot where she came from,” the university’s lawyer David Beck said when the trial opened on Nov. 26.
While the university says the portrait is worth about $12 million, O’Neal’s lawyer Martin Singer estimated its value at just under $1 million, adding: “The University of Texas should have been satisfied with what they got.”
‘Graziella’ by Pierre Auguste Renoir, 1896, oil on canvas, Detroit Institute of Arts. Image courtesy of Wikimedia Commons. DETROIT (AP) – Detroit may have to rely on the generosity of strangers to keep its impressive art collection that was amassed with taxpayer dollars in better times.
The bankrupt city is expected to learn this week the value of roughly 2,800 of its pieces at the Detroit Institute of Arts when New York auction house Christie’s delivers its final report to Kevin Orr, the state-appointed emergency manager who currently runs the Motor City’s finances.
Christie’s, which has been poring over the collection for months, said it will include recommendations for how Detroit might make money while maintaining ownership of some of its most valuable pieces – including Degas’ Dancers in the Green Room, Pissarro’s The Path and Renoir’s Graziella. But the city may have to sell off works many consider integral to the cultural soul of the city in order to help repay creditors, including retired public workers whose pensions could take a huge hit.
Citing debt of at least $18 billion, as well as rising pension and health care costs and a revenue stream too small to pay the city’s bills, Orr filed for bankruptcy in July. A federal judge on Dec. 3 allowed Detroit to become the largest U.S. city to enter bankruptcy.
Orr had warned museum officials of the works’ potential fate, creating an outcry in the art community here and elsewhere.
“I think it’s so important that we can’t let it fail,” said 68-year-old philanthropist A. Paul Schaap.
Schaap and his wife, Carol, have pledged $5 million to help offset expected losses by city pensioners in Orr’s restructuring plan for Detroit.
A local foundation also has stepped up, heeding a call by U.S. District Judge Gerald Rosen, who is acting as chief mediator between Detroit and its creditors. Rosen is reaching out to foundations to raise $500 million to keep the artwork from being sold.
“The idea that we would sell even one piece of art … would be so demoralizing to this community that we really can’t imagine the effect,” Schaap told The Associated Press last week. “On the other hand, we really don’t want to see the pensioners hurt. They have a problem here, too, that we really have to address.”
Orr is expected to present a plan of adjustment for fiscal restructuring to the court in early January that will include his recommendations for the art.
“Everything is on the table,” Orr told The Associated Press on Thursday. “If there’s money in hand, then we’ll re-address what’s on the table. If there’s a proposal, it is very welcome. We hope it comes to fruition. We hope it is significant, and that perhaps will change the discussion.
“But right now I don’t want to mislead anyone: Cash is king. Until I have cash in hand, or a firm proposal or a definitive agreement everything is on the table.”
Even selling off the entire city-owned collection may not be enough. Christie’s has determined the fair market value of all the city-owned pieces is between $452 million to $866 million. Detroit’s two employee pension funds are short $3.5 billion, according to Orr.
Christie’s alternatives to selling the art include using it as collateral to secure loans or lines of credit and creating a partnership with another museum where the art would be leased out on a long-term basis.
The auction house also said the city could establish a trust from which U.S. museums “rent” the city-owned art. Minority interests would be sold to individual museums. Revenue from the sale of these shares would be paid to Detroit.
“They all seem like feasible alternatives to an outright sale, assuming of course that there are counterparties willing to engage in the outlined transaction and that the monetary return from the transaction is not so significantly less than the monetary return from an outright sale that all creditors rebel,” said John Monaghan, a partner in Boston’s Holland & Knight law firm.
Bruce Babiarz, a spokesman for Detroit’s Police and Fire Retirement System, said pensioners welcome any support from the private sector. That pension system has about 8,500 members and, along with the General Retirement System, has been in court-ordered mediation sessions with the city.
“The issues of monetizing the artwork of the DIA or selling elements of the collection outright are matters for the emergency manager to decide,” Babiarz said. “The pension funds are creditors of the city of Detroit and the city has not made its obligatory payments to the pension funds for more than a year because of the city’s insolvency.”
Schaap hopes Rosen’s appeal to foundations and others for donations does the trick in offsetting losses and helping retirees.
The DIA’s art and city retirees “are two kind of heart-rending issues,” he added. “Unfortunately they’ve sort of come together as a competition between the two.”
Copyright 2013 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
AP-WF-12-16-13 1549GMT
ADDITIONAL IMAGE OF NOTE
‘Graziella’ by Pierre Auguste Renoir, 1896, oil on canvas, Detroit Institute of Arts. Image courtesy of Wikimedia Commons.
Archival newspaper image of Babe Ruth visiting Little Johnny Sylvester’s bedside on October 11, 1926. Grey Flannel Auctions image.
WESTHAMPTON, N.Y. – The “Little” Johnny Sylvester collection, a unique family-owned archive related to one of the most famous stories in baseball history, is headed for the auction block. Sylvester was a gravely ill 11-year-old boy who rallied after receiving a baseball signed by Babe Ruth together with a promise from the Yankee slugger to “knock a homer” for him.
The collection’s centerpiece is the most talked-about baseball of all time, the “I’ll Knock A Homer For You” baseball that Ruth and the Yankees sent to Sylvester. Ruth and five other Yankees autographed the baseball. Ruth’s immortal promise – “I’ll Knock A Homer For You” – appears on one panel, and an inscription from the Yankees appears on another.
Shortly before October 6, 1926, Babe Ruth and the Yankees sent the signed and inscribed baseball to Little Johnny, who was hospitalized near his home in Essex Falls, New Jersey. The youngster had been seriously injured in the summer of 1926 after falling off a horse and being accidentally kicked in the head by his mount. Learning of the incident and Sylvester’s devotion to the Yankees, the team sent Sylvester the ball from St. Louis, where they were playing the Cardinals in the 1926 World Series.
Ruth promised to hit a home run for Little Johnny and, amazingly enough, he hit not one, but three homers in Game 4 of the Series. It was the first time Ruth had ever belted three in a game, and in so doing, he became first player to do so in a World Series.
The young patient’s spirits were lifted, and three days later (Game 6) Ruth sent a hand-written letter stating that he would try to hit another homer for little Johnny, “maybe two.” The day after Game 7, October 11, 1926, Ruth personally visited Sylvester in Essex Falls. On December 16, 1926, Ruth penned another letter to the boy, inquiring about his recovery and inviting him to Yankee Stadium for the 1927 World Series “to help win another pennant.”
Ruth wasn’t the era’s only sports celebrity to reach out to the ailing Sylvester. “Big Bill” Tilden, one of the greatest tennis players of all time, sent Johnny three hand-written letters wishing him well, and even sent the boy an autographed tennis racquet he had used in the U.S. National Championships (now known as the US Open).
Hall of Fame halfback “Red” Grange, a friend of Ruth’s, also sent a letter to the kid, promising to score a touchdown just for him in his first game at Yankee Stadium. In his letter, Grange invites Johnny and his father to the game, and also gifts the boy with an autographed football. Baseball Hall of Famer Rogers Hornsby was another high-profile athlete who sent Little Johnny a letter.
The Internet, phone and absentee auction featuring the Little Johnny Sylvester collection will open for bidding on January 20 and conclude on February 6, 2014, the day that would have been Babe Ruth’s 119th birthday.
The Sylvester collection, which was on loan to the Babe Ruth Museum for more than 25 years, comes to Grey Flannel’s auction directly from its owner, John Sylvester Jr.
A public display of this famous collection of American history will be held 12 noon to 5 p.m. from Jan. 22-26 and Jan. 29-Feb. 2 (closed on public holidays) at the Yogi Berra Museum & Learning Center, 8 Quarry Rd., Little Falls, New Jersey (20 miles from New York City via I-80). Details will be announced soon regarding a press conference at the museum with John Sylvester Jr.
To contact Grey Flannel, call 631-288-7800 or email info@greyflannelauctions.com.
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ADDITIONAL IMAGES OF NOTE
Archival newspaper image of Babe Ruth visiting Little Johnny Sylvester’s bedside on October 11, 1926. Grey Flannel Auctions image.Archival 1926 newspaper image of Little Johnny Sylvester recuperating in his hospital bed, with a nurse alongside him, holding autographed baseballs sent to him by Babe Ruth and five other New York Yankees; and members of the St. Louis Cardinals. Grey Flannel Auctions image.The “I’ll Knock a Homer For You” baseball autographed by Babe Ruth and inscribed by five other New York Yankees. Grey Flannel Auctions image.
Large candy container depicting Father Christmas, Germany, composition feet, hands and face, carrying a Dresden lantern and a paper tree, 18 1/2 inches. Image courtesy of LiveAuctioneers.com Archive and Bertoia Auctions. BERLIN (AFP) – A German museum has applied for UNESCO heritage status for the country’s traditional Father Christmas, saying he is under threat from the cheery version of Santa Claus popularized globally by Coca-Cola.
The German Christmas Museum’s director Felicitas Hoeptner argues today’s Santa Claus is based on a German gift-giver who meted out both treats and punishment, but that knowledge of the figure’s origins is fading away.
“Children only know about Santa Claus, because he’s smiling, he brings gifts, he’s a nice man, and with different marketing campaigns, he’s popular all around the world,” Hoeptner told AFP by phone from Rothenburg, Bavaria, where her museum is located.
“People forget about those old German traditions.”
Hoeptner has applied for UNESCO “intangible cultural heritage” status for the German Father Christmas, or “Weihnachtsmann,” as well as his symbolic predecessor St. Nicholas, based on a fourth-century Greek bishop, and the gift-bearing Christ Child.
Father Christmas was developed in Germany during the Protestant Reformation, as a secular replacement for the Catholic St. Nicholas, Hoeptner said.
As the church did away with saints, “there was a need for a new gift-bringer, a new symbol,” Hoeptner said.
According to Hoeptner, Father Christmas took his popular physical form from a 19th century Munich magazine illustration featuring a stern-looking man with a full beard, long coat and hood, who walked through the city streets with a Christmas tree and punished naughty children with a stick.
The character was brought into the popular American imagination by the German immigrant illustrator Thomas Nast in the late 1800s, Hoeptner said.
The origins of Santa Claus’ red coat and hat are debated, but Hoeptner ascribes his modern look, and perpetually jolly nature, as an invention of Coca-Cola marketing campaigns.
“You never find Santa Claus looking serious, or being grim. He will never ask the children, ‘Have you really been good in the past year?'” Hoeptner said, or require children to recite a poem before receiving presents, as in the German tradition.
Hoeptner argues the educational nature of the holiday has been lost with a commercial Santa, and hopes a UNESCO listing would raise awareness about historical Christmas traditions among Germans.
ADDITIONAL IMAGE OF NOTE
Large candy container depicting Father Christmas, Germany, composition feet, hands and face, carrying a Dresden lantern and a paper tree, 18 1/2 inches. Image courtesy of LiveAuctioneers.com Archive and Bertoia Auctions.
A lithograph print of Norman Rockwell’s ‘The Babysitter,’ which appeared on the cover of the Nov. 8, 1947 issue of ‘The Saturday Evening Post.’ Image courtesy of LiveAuctioneers.com Archive and Artistic Findings. BURLINGTON, Vt. (AP) – Art experts say they’re not sure how the recent sale of a Norman Rockwell painting for a record $46 million could affect the value of The Babysitter, a Rockwell painting that hangs in the University of Vermont’s Fleming Museum.
Rockwell lived in Vermont from 1939 to 1953 and incorporated many of the state’s people and places into his work. He gave The Babysitter to the Taft School after students asked for a painting to honor a classmate who died of leukemia.
The painting is appraised at $900,000, but museum director Janie Cohen told the Burlington Free Press she isn’t sure it’s worth more now than it was before the Sotheby’s auction earlier this month, when six Rockwells fetched a total of nearly $60 million.
Copyright 2013 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Gorgeous eight-light crystal chandelier, pulled from a prominent Atlanta estate home. Ahlers & Ogletree image. ATLANTA – About 1,200 quality lots from prominent local estates and collections will come up for bid in a two-day New Year’s Extravaganza Auction slated for the weekend of Jan. 4-5 by Ahlers & Ogletree. The event will begin 11 a.m. (EST) both days of the sale. LiveAuctioneers.com will provide Internet live bidding.
Sold will be European paintings, bronze sculptures, architectural fragments, wall sconces, Asian decorative arts and porcelain, advertising pieces, period furniture, lighting, Persian rugs, art glass, estate jewelry, sterling silver, Native American pottery, marble-top consoles, decorative columns and pedestals, hand-decorated paneled screens, prints, drawings, coins, ivory and more.
Headlining the auction will be the collection of Thomas and Marie Patton of Atlanta, who filled their three homes with carefully selected and tasteful objects.
“We’ve got a lot of high-end decorative merchandise in this auction,” said Robert Ahlers of Ahlers & Ogletree. “As a whole, the items are from expensive interiors. Collectively, they’ll make for a great sale.”
The offerings will be many and varied, to include a gorgeous eight-light crystal chandelier, a dazzling 5 1/2-carat diamond ring, a 1921 Steinway grand piano beautifully restored, a handsome apothecary cabinet with a clock at the top, a neoclassical hand-painted four-panel folding screen, a Continental Grisaille figural tapestry panel and a Chinese porcelain seated Guan Yin figure.
Some of the items are so visually arresting they’re certain to spark interest. Two examples are an 18th century clockworks converted table, constructed from hand blacksmithing, likely taken from an Italian church and later converted into the base for a rectangular glass-top table; and a late 19th or early 20th century Southern French shoemaker advertisement, hand-painted on canvas, depicting a boy carrying an oversize shoe, monumental at over 12 feet tall.
Fine art will be served up in abundance. Works by French painters will include a 19th century oil on tin by Charles Durand (1837-1917), titled Homme en Armure (Man in Armor), depicting a man in a suit of armor in an outdoor setting; and an oil on canvas by Alfred de Dreux (1810-1860), titled Kissing Couple on Horseback, depicting a romantic kiss between an elegant beauty and a gentleman with a mustache and cap, both on galloping horses.
Other French works will feature a monumental oil on canvas by Jules Victor Verdier (1861-1926), titled Nymphs, depicting three nude female beauties in the form of mythological nymphs emerging out of shallow water on a rocky waterline; and an oil on canvas still life attributed to Jean-Baptiste Monnoyer the Elder (1636-1699), showing a large urn with a snake at the left, slithering down a cascading garland of various fruit, to include apples, grapes and plums.
Italian renderings will include an exceptional 19th century oil on canvas from an Italian School painter in the manner of Tiepolo, depicting an active Venetian festival street scene, to include numerous figures celebrating in masquerade masks in an outdoor courtyard; and an oil on canvas attributed to Bartolomeo Manfredi (1580-1622), titled Boy Playing Mandolin and showing a bust of a boy musician wearing a red scarf and shirt and playing a stringed mandolin.
British painters will be represented by Gerald Cooper (1899-1974), whose Still Life With Pears, Apples and Sunflower is an oil on canvas depiction of a table covered with a white tablecloth and a large spread of fruit. Also, an oil on canvas rendering of Female Nude With Three Attendants, attributed to William Etty (British, 1787-1849), shows a young nude female beauty standing with her back to the viewer, admiring herself in a mirror held by an attendant.
Bronzes will also be sold, including a 19th century patinated figural sculpture of the 17th century Dutch painter Rembrandt van Rijn, by Louis Royer (Netherlands, 1793-1868). The work shows Rembrandt standing at full length, in typical dress and holding an artist’s tool in one hand. Also offered will be a finely rendered Orientalist themed patinated bronze figure of a large camel carrying roped baskets and being tended to by a semi-nude blackamoor, by an unknown artist.
From camels it’s a short leap to tigers and dogs, first with a large pair of papier-mâché and polychromed striped orange tigers in an elongated crouch, rendered in the early 20th century for Learbury Clothiers of Syracuse, N.Y., and with “Learbury Tiger” in all capitals at the bottom of the display platform; and then with a pair of large 18th century antique stone dogs, 38 inches in height, showing two dogs seated on their hind legs, with pleasant expressions and mouths open.
Returning to fine art, works by American painters will feature an oil, acrylic and lacquer on Kashmir gold granite by Gary Kaelon (1944-2002), titled Marsh Lions, large at 67 1/2 inches by 82 inches and showing a lion and lioness by the water’s edge (she in an alert crouch); and an oil on canvas still life by the American-Canadian artist Hal Morrison (1848-1927), depicting a footed glass bowl with a large stack of fresh peaches at the center, probably painted in Georgia.
Other noteworthy artworks will include an oval oil on canvas titled Allegorical Painting, attributed to the Portuguese painter Jose Malhoa (1853-1933), apparently unsigned and said to have originally hung on the ceiling of a parlor room in a private castle in Lisbon; and an oil on wood panel by Toon Kelder (Dutch, 1894-1973), titled Musicians and Figures in Landscape, with figures to include female nudes, a seated dog, a minstrel musician and a rider on horseback.
Also to be sold will be a Watson Brothers 12-gauge double-barrel shotgun (English, circa early 20th century, with the marking “Made of Sir Joseph Whitworth 3”) with a walnut stock, detailed metal engraving with scrolled foliate decoration, cleaning rod and accessories and with the original brown leather rectangular fitted case bearing a paper label in the interior reading, “By appointment to him the Sultan of Turkey, Watson Bros.”; a Chinese carved ivory puzzle ball on a stand; and a gorgeous 19th century hand-painted dresser.
For details call Ahlers & Ogletree at 404-869-247 or email them at info@aandoauctions.com.
Stonehenge and its surroundings were added to the UNESCO’s list of World Heritage Sites in 1986. Image by garethwiscombe. This file is licensed under the Creative Commons Attribution 2.0 Generic license. STONEHENGE, UK (AFP) – Stonehenge’s new visitor center opens Wednesday in time for the winter solstice, hoping to provide an improved experience for the million tourists that flock annually to Britain’s most famous prehistoric monument.
The mysterious circle of standing stones, on Salisbury Plain in southwest England, is one of the most iconic ancient sites in Europe.
However, thanks to decades of disputes and indecision, it has never offered much of a welcome beyond a parking lot – something which the new £27 million ($44 million, 32 million euro) visitor center, museum and exhibition space aims to put right.
“It has been described a national disgrace by our politicians that Stonehenge, such an incredible monument, has been so badly treated,” said Simon Thurley, chief executive of English Heritage, the public body which runs the site.
“But the good news is: no longer,” he told AFP, thanks to the project, funded by grants, private finance and English Heritage itself.
The new center is invisible from Stonehenge and designed to blend in with the landscape. Its light roof is propped up by 211 slender steel poles, leaning like trees.
It is opening in time for the winter solstice on Saturday.
Thousands of pagan revelers are expected to witness the rising sun appearing between the stones in alignment, just as for the June 21 summer solstice.
A UNESCO world heritage site, Stonehenge is one of the most impressive prehistoric megalithic monuments anywhere due to its size, sophisticated concentric plan and architectural precision.
The new museum traces the site’s construction, using models and video screens. Stonehenge was built in stages, from around 3,000 B.C. to 2,300 B.C.
The bluestones were transported from the Preseli Hills in Pembrokeshire, southwest Wales, some 150 miles (240 kilometres) away.
But visitors hungry for answers on what it’s all about are warned by a giant panel saying “there will always be debate about its meaning.”
The main theories these days are a ceremonial burial site or a center of healing.
The new visitor center is a mile and a half (2.5 kilometres) from the site. A shuttle service – wagons pulled by an all-terrain vehicle – transports tourists between the two.
Right by the monument, the tired 1960s facilities – portable toilets, the old buildings housing the tills, a small shop and a small cafe – are now out of service.
Meanwhile, the parking lot and access road that cut right across Stonehenge’s processional avenue have been grassed over.
Stonehenge stands in the rolling green fields of Wiltshire, but the pastoral scene is somewhat diminished by the sight and sound of the A303 trunk road some 200 meters away. One of the main routes between London and southwest England, traffic on the single-lane road shoots past at 60 miles per hour.
The highway “kind of demystifies it a little bit,” said Shayne Adcock, a 21-year-old Danish tourist. He said it was “awkward” that they did not move the road as part of the development.
A tunnel was proposed but the cost – estimated at nearly £500 million – was deemed too expensive and the idea was abandoned, said English Heritage spokeswoman Renee Fok.
Entry prices for Stonehenge have now nearly doubled from £8 to £14.90.
English Heritage says the hike is justified by access to the museum, a snazzy cafe and a souvenir shop which sells goodies such as teddy bears and jam.
ADDITIONAL IMAGE OF NOTE
Stonehenge and its surroundings were added to the UNESCO’s list of World Heritage Sites in 1986. Image by garethwiscombe. This file is licensed under the Creative Commons Attribution 2.0 Generic license.
