The Art Newspaper can reveal that the first venue for the Nimrud treasures is the Arthur M. Sackler Gallery, part of the Smithsonian Institution. Various formalities have to be completed before the exhibition is officially announced, in a few weeks’ time.

There are likely to be around ten venues, after Washington, and these will probably include museums in Berlin, London and Paris. The tour of “The Gold of Nimrud” should raise around $10m for Iraq’s National Museum.

The centerpiece of the show will be an accurate full-size reconstruction of the throne room of the Assyrian king Ashurnasirpal II at Nimrud. The site was discovered by Sir Austin Layard in 1848. British Museum archaeologist Max Mallowan (husband of Agatha Christie) excavated the throne room in 1950, but failed to locate the tombs of the queens.

In 1991 Iraqi archaeologist Muzahim Mahmu found the tombs, with the thousands of pieces of gold. The treasure was then stored in the vaults of the national bank. Those who have seen it compare it with that of Tutankhamun.

The reconstruction of the east end of the throne room is being made by Madrid-based firm Factum Arte. They have done this by scanning excavated Nimrud reliefs in the British Museum, Berlin’s Pergamon Museum, Princeton’s Art Museum, the Sackler Gallery at Harvard and the Dresden Museums. Despite initial hopes, it proved impossible to record the remains left on site in Nimrud and other fragments in Mosul and Baghdad, because of security problems. The reconstruction is being made in resin, and is almost finished.

There still remain a daunting set of challenges to be overcome before the scheduled opening of the exhibition next February.

There are internal differences within Iraq on the touring show. The ministry of culture is keen, partly because it will bring in much-needed revenue. It has the formal authority and signed last month’s agreement.

However, Donny George, former director of the Iraq Museum and now president of the State Board of Antiquities and Heritage, is against the proposal. Although not speaking publicly, he is believed to be concerned about the security risks and is also uneasy about the involvement of a commercial organizer, the UEG. Dr George is highly regarded by his museum colleagues in Europe and the US, and they would be reluctant to proceed without his blessing.

The role of the UEG is also controversial. Most archaeologists would have preferred that the show was organized by a non-commercial organization, but the company has proved adept and persistent in overcoming difficulties in a way that few international museums would be able to do. UEG staff have flown into Baghdad nearly ten times since the downfall of Saddam Hussein, at considerable personal risk.

If the exhibition is to proceed, the full cooperation of the US State Department will be required, and this has proved more difficult than expected. US military protection would be needed to move the treasure inside Iraq and it would also require safeguarding while on American soil.

Back in Washington, the Freer and Sackler Galleries have a financial challenge, since as part of the Smithsonian they do not have entrance fees. The exhibition will be expensive to mount—with payments due to UEG for their services, for the reconstruction of the throne room, and for the Baghdad museum. Sponsorship will therefore be essential. Although a blockbuster exhibition on Assyrian gold would be attractive for a sponsor, anything to do with Iraq is also politically sensitive.

Finally, there are conservation issues. The gold itself needs relatively little attention, but some items incorporate other materials, which do need work. This cannot be done in Baghdad, in the present situation, and if conservation is to be undertaken in America, then the treasures will have to be flown out relatively soon.

Dr Raby sees the show as “celebrating Iraq’s heritage”, presenting a very different picture from the constant news reports of death and destruction. He also regards it as an opportunity for the international museum community to “give something back, in terms of money and training.” The funds might well be administered through Unesco, and would be for the use of the museum, rather than going into the coffers of the Iraqi treasury.

The situation is very difficult, but Dr Raby believes there are two choices: “Do you go into a bunker mentality or take the opportunity of the Baghdad museum being closed to do something major outside Iraq?” If the treasures are to be toured, he would like to see them go to institutions with Near East material, so the Nimrud gold can be seen in context and museums can help with conservation and training. Showing the treasures at kunsthalle-style exhibition venues would not provide the same benefits.

Asked whether the February 2007 date is realistic, UEG vice president Amy Seitz told The Art Newspaper: “I am positive. The people we are working with in the Iraqi ministry are optimistic and there is real enthusiasm from the first venue. Once the opening venue is officially announced, we have the support of six venues and interest from 20 others.”