Egypt Secures Return of 19 Objects

One of the 19 objects returned to Egypt by the Met

The Met will return object to Egypt which had been unlawfully removed from Egypt after the excavation of Tutankhamen’s tomb. Archaeologist Howard Carter discovered the tomb in 1922, and at the time some archaeologists may have kept some of the objects they found.

As the Met’s Director Thomas Campbell said in a statement “Because of precise legislation relating to that excavation, these objects were never meant to have left Egypt, and therefore should rightfully belong to the government of Egypt”.

These objects will likely assist Dr. Zahi Hawass in his attempts to secure the return to Egypt of objects which are very famous, which were removed from Egypt much longer ago—the Rosetta Stone and the Bust of Nefertiti. Hawass has made clear that he is seeking to fill a new national museum in Cairo with many of these renownd objects.

  1. Kate Taylor, Met to Repatriate Objects From King Tut’s Tombs to Egypt, The New York Times, November 10, 2010, http://www.nytimes.com/2010/11/10/arts/design/10met.html?_r=2 (last visited Nov 11, 2010).
  2. Ashraf Khalil, Egypt Hunts Ancient Artifacts, wsj.com, November 11, 2010, http://online.wsj.com/article/SB10001424052748704689804575535662169204940.html (last visited Nov 11, 2010).
Questions or Comments? Email me at derek.fincham@gmail.com

Cairo van Gogh Theft an Inside Job?

The still-missing “Poppy Flowers”, by Vincent van Gogh

An Egyptian minister said Sunday that an employee working at the Cairo museum likely participated in the theft.  Habib al-Adly told Egypt’s official news agency “There are many circumstances around the theft of the Poppy Flowers that point to the fact that a museum employee participated in the theft or stole it himself . . .  The location and placement inside the museum confirms this”.  This may explain why there was such a strong reaction to the arrest and a crack down on the museum’s own staff and security personnel, or it may be an attempt to find a scapegoat.  Either a museum employee was complicit in the theft, or there was gross negligence which allowed this work to be cut from its frame.  There are still precious few details, and the work remains missing.

 

  1. AFP: Egypt museum employee behind Van Gogh theft: minister, AFP, September 26, 2010, http://www.google.com/hostednews/afp/article/ALeqM5iUQB5fPhmiFCuK-JufZ785Af9icg (last visited Sep 27, 2010).
  2. Hadeel Al-Shalchi, Security problems abound in Egypt’s museums, Associated Press, , http://www.msnbc.msn.com/id/38884911/ns/technology_and_science-science/ (last visited Aug 28, 2010).

 cross-posted at: http://art-crime.blogspot.com/

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    More on the Security Breakdown in Cairo

    The stolen work, “Poppy Flowers”

     A week ago today the 1887 work Poppy Flowers, by Vincent van Gogh was stolen from a Cairo museum.  Hadeel Al-Shalchi has a very good piece reporting on the security (or lack of it) at the  Mahmoud Khalil museum in a piece for the AP which you can read on MSNBC

    I’m quoted at the end of the piece, noting that the best way to protect works of art is not necessarily with an elaborate electronic security system.  Those alarms and sensors certainly play an important role, but for a nation like Egypt, an active, engaged security guard who isn’t dozing off as these guards perhaps were, would seemingly have been a successful deterrent for the thieves.  They apparently walked in and cut the work from the frame during hours the museum was open.  And I want to make clear that when I was quoted in the piece saying “It’s not an exciting job, but you need to take it seriously”, I mean that security staff at museums are professionals, and should be given that status.  In Cairo, these guards were certainly not expected or required to maintain an adequate standard, and the theft and damage of this artwork is the unfortunate result.  But hopefully Egypt will learn from this crime, and enact some sound security procedures to ensure more works of art are not stolen in the future. 

    When Ms. Al-Shalchi called me to discuss the theft, she told me she had learned that many of the guards may have been praying—this is still Ramadan—while the theft was taking place, that they may have been dozing off, and that the museum was not heavily visited on the day of the theft.  But perhaps most troubling of all were the breakdowns in technology at the museum.  As the piece states, there were no working alarms, only seven of the 43 cameras were in operating condition, and video from the cameras is recorded only when a guard “senses” an incident may be taking place.  As Ton Cremers, founder of the Museum Security Network says, this is not a good state of affairs for the protection of such valuable artworks: “The value of the van Gogh is $40 (million) to $50 million . . .  A complete security system of that museum would be $50,000, and to keep it running would cost $3,000 a year. … Need I say more?”

    Also of interest will be the arguments against repatriation of other classes of objects—such as the bust of Nefertiti—on the grounds that Egypt is not going to be able to adequately care for the object when it is returned.  yet Art theft occurs in every nation, and bad security is bad security whether the museum is in Egypt, Europe, or North America.  Thieves will exploit obvious gaps in security.  As Mark Durney, current moderator of the Museum Security Network, asked this week “Why are some national collections not as well protected as others? Who, in addition to the thief, is responsible for the theft?”  I think that is the right set of questions to ask, yet they need to be asked whenever a museum is unprepared for a theft, whether that museum is in Egypt, or France—where the security system at the Modern Museum may have not been in working order earlier this summer when five works were stolen

    1. Hadeel Al-Shalchi, Security problems abound in Egypt’s museums, Associated Press, http://www.msnbc.msn.com/id/38884911/ns/technology_and_science-science/ (last visited Aug 28, 2010).

    (cross-posted at http://art-crime.blogspot.com/)

      Questions or Comments? Email me at derek.fincham@gmail.com

      Theft of a Van Gogh in Cairo

      “The Poppy Flowers” by Vincent Van Gogh

      “[Y]ou’ve got two prime examples of people being indifferent to the need to protect their paintings”.

      So says Charles Hill in an interview with BBC Radio 4 on the theft of this work from the Khalil Museum in Cairo on Saturday, which bears similarities to the theft in Paris earlier this summer.  The thieves cut the work from the frame.  Though some early reports indicated that the work had been recovered, that now appears to be inaccurate.  Two Italians have been detained at the airport, they were among the ten people who apparently visited the museum on Saturday.  It seems only 7 out of 43 security cameras were functioning. 

      The same work was stolen in 1978, and was apparently recovered in Kuwait soon after. 

      1. Galleries warned after art thefts, BBC, August 23, 2010, http://www.bbc.co.uk/news/entertainment-arts-11058596 (last visited Aug 23, 2010).
      2. Stolen Van Gogh painting still missing, the Guardian (2010), http://www.guardian.co.uk/artanddesign/2010/aug/22/stolen-van-gogh-still-missing (last visited Aug 23, 2010).
      3. Alaa Shahine, Van Gogh $55 Million `Poppy Flowers’ Theft in Cairo Blamed on Lax Security, Bloomberg, , http://www.bloomberg.com/news/2010-08-22/van-gogh-55-million-poppy-flowers-theft-in-cairo-blamed-on-lax-security.html (last visited Aug 23, 2010).
      Questions or Comments? Email me at derek.fincham@gmail.com

      Barford on the Sale of Egyptian Antiquities

      Archaeologist Paul Barford has an interesting post on the sale of antiquities in Egypt.  He’s had a number of interesting posts on his time on an excavation there, but I was really interested in his post Monday.  He talks about his quest for some fake antiquities, and was offered some shabtis.  These small funerary figurines were placed in graves, perhaps as servants meant to serve the deceased in the afterlife.  Pictured here are shabtis on display in the Louvre.  Barford states the “current modes of no-questions asked collecting are directly contributing to the creation of the market which is the motor behind the looting of archaeological sites for saleable objects.”  I think I agree with him that buyers are fueling the looting of sites.  But there are other contributing causes:  the paucity of resources in these areas for law enforcement; the desire by visitors and tourists to buy these objects; and the lack of site security when archaeologists leave.  The answer is responsible scrutiny of these transactions, but also the importance of outreach and education of these buyers and the local communities about the value of responsible stewardship of these sites and objects.       

      Barford writes:

      Last night in a Luxor sidestreet on my quest for the best or the most bizarre fake artefacts, in a grubby shop I’d overlooked before, I was offered several shabtis and shabti fragments which I am pretty sure were not fakes. All the dealer offered as provenance was “here and there”. After I had correctly identified the fakes he’d mixed in to test whether his customer knew his onions, he showed me a lot more. I told him that in his country there was a new law under discussion which would make merely having them in his shop punishable by up to twenty five years. I was not terribly surprised that he would not show me the “authentic scarabs” after that. Those suppliers “here and there” who sold them to him knew that these items were saleable to visiting foreigners.

      The day before, I was walking across the palace site at Malkata, showing it to some colleagues, and had just replaced the cardboard “protecting” the wall paintings when a guy in a dark robe came running up. “Closed, closed, zis site he closed” he panted. He was presumably the “gafir” who was guarding this site for the SCA. Once he realised he could not make cash out of showing us the wall paintings which I’d just shown people, he then pulled out of his pocket a blue-painted sherd, the “Armarna ware” which I have seen on the Internet being sold at 300 dollars a piece and asked whether I would like to “see” it. It looked remarkably like the one I’d found there a few weeks earlier and put under a nearby bush to protect it from the sun and weather. I told him where he could put it. Interestingly this was after I had pulled out the photo-identity document issued by the SCA authorising me as an archaeologist to visit sites like this.

       . . .

      What is interesing about this is Malkata is littered with pottery, tonnes of it. Most of it from the Eighteenth dynasty, including some nice red wares (lovely colours), slipped ware, fine bowls, burnished ware. Yet neither of the would-be vandors had picked any of this up, they knew their market, the blue-painted pottery is coveted by western collectors and that is what they were stealing from the site to make a bit of cash. . . . 

      I’ve had similar experiences at ancient sites as I’m sure many of you have.  Pictured here is a man selling small stone ‘zapotec’ figurines at Monte Alban in Oaxaca Mexico this summer.  I don’t have the expertise required to tell if these are fakes or not.  I’ve always assumed, as Barford did, that these locals are selling fakes.  

      Questions or Comments? Email me at derek.fincham@gmail.com

      Making up for Looting with Art

      Artist Andy Holden visited the Great Pyramid of Giza when he was 12, and took home an illegal souvenir.  He “broke off a lump of stone from the side”.  He says that when his parents discovered his theft “they were furious and it ended up becoming this terrible guilt object”.

      Now, in an effort to make amends Holden has created a colossal knitted replica of the small rock at Tate Britain.  he also has a video piece in which he is shown climbing the Pyramid and returning the rock to the place from which it was stolen.  This was a theft, one wonders if Holden approached the Egyptians about his installation and return.  He’s doing the right thing now, though now he is profiting off of the theft, in a slightly more palatable way.  The display now reveals the ease with which ancient monuments can be damaged, and perhaps will serve as a reminder for the next set of parents to keep a closer watch on their little looters at important monuments.

          Roya Nikkah, Tate Show reveals artist’s pyramid theft, The Telegraph, Jan. 10, 2010.

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      Ceremony for Egyptian Relics

      Pictured here are French President Nicolas Sarkozy and Egypt’s Hosni Mubarak during a ceremony today.  The French returned some relics taken from Egypt in recent years which were purchased by the Louvre in 2000 and 2003.  Egypt had made a dramatic call for the immediate return of the objects, ordering the removal of all French archaeologists from Egyptian sites if the objects were not returned.  They were returned quickly.

      Egypt demanded the return of the stolen fragments in October and broke off relations with the Louvre. Afterwards, France agreed to hand back the works, which are from Luxor’s Valley of the Kings.  “France is particularly committed to fighting the illegal trafficking of works of art,” Sarkozy said, in a statement.  The other four artefacts were to be given to the Egyptian embassy in Paris during Mubarak’s visit to Paris, French officials said.  The French president emphasized that the Louvre museum had acted in good faith when it purchased the artefacts and said that doubts were only raised in November during archaeological work at the site.  Egypt had produced photographs from the mid-1970s showing the fragments in place on the tomb’s wall.

      1. AFP: France returns stolen Louvre relics to Egypt, December 14, 2009.
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      Hawass Wants Rosetta Stone Loan

      “We are not pirates of the Caribbean – we are a civilised country”

      So says Zahi Hawass in calling for the British Museum to loan the Rosetta Stone to Egypt. The British Museum has said the museum’s trustees will consider the request. Hawass wants the loan in contemplation of the opening of Egypt’s Grand Museum at Giza, in 2013. Other prominent objects Hawass would like returned on loan:

      • a statue of Hemiunu, the architect of the Great Pyramid at Giza (Germany);
      • the bust of Anchhaf, builder of the Chepren Pyramid (Boston);
      • a painted Zodiac from the Dendera temple (Louvre); ann a statue of Ramesses II (Turin).

      The requests are part of a series of prominent requests by Hawass in recent months.

      1. Rosetta row ‘would end with loan’, BBC, December 8, 2009.
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      5,000 and Counting

      The BBC reports on the increasingly-aggressive efforts by Egypt to secure the return of objects from the British Museum and Germany’s Neues Museum.  Zahi Hawass claims to have arranged for the return of some 5,000 artifacts:

      Later this month Egyptian archaeologists will travel to the Louvre Museum in Paris to collect five ancient fresco fragments stolen from a tomb in the Valley of the Kings in the 1980s, but there are many other “stolen” antiquities which they also want back, reports the BBC’s Yolande Knell in Cairo.

      One of the first artefacts that visitors see on entering the pink neoclassical facade of the Egyptian Museum in Cairo is a fake.

      “This is a replica of the Rosetta Stone. It is the only object in the museum that is not real,” announces a tour guide, his voice echoing through the high-domed hall.”The original is kept in the British Museum.” Before leading his group on to the lines of old-fashioned cabinets filled with ancient treasures, he explains the significance of the basalt slab, which dates back to 196BC and was key to the modern decipherment of hieroglyphics.

      The Rosetta Stone presents an interesting case.  Would we think much of the stone if it hadn’t been for Thomas Young and Jean-François Champollion who managed to decipher the hieroglyphic writing?  If so, doesn’t the British Museum have a closer connection to the stone, where it has been almost-continually displayed since 1802.  Of course it was discovered by the French in 1799, and there is certainly a compelling case that those kinds of removals were wrongful.

      The quest to regain Egypts antiquities, BBC, Nov. 11, 2009.

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      The Met Returns Object to Egypt

      Curious story involving the Met and Egypt. It seems the museum will return a fragment of a red granite shrine purchased from an antiquities collector in New York last October “so that it could be returned.” It seems the Met purchased the object specifically to return it to Egypt. Curious to say the least, why couldn’t ICE agents or the NYPD have gotten involved? Perhaps because it was a prominent unnamed collector? There are more questions than answers at this point.

      Here’s a part of the AP story:

      The piece arrives in Egypt Thursday, the statement said. Egle Zygas, senior press officer for the Met, confirmed the museum’s decision.
      SCA head Zahi Hawass hailed the Met’s move as a “great deed,” singling it out as the first time a museum has bought an item for the sole purpose of repatriating it.
      The fragment belongs to the naos honoring the 12th Dynasty King Amenemhat I, who ruled 4,000 years ago, which is now in the Ptah temple of Karnak in Luxor.
      It’s the latest coup for Hawass, Egypt’s assertive and media-savvy archaeologist, who has been on an international lobbying campaign to reclaim what he says are stolen Egyptian artifacts from the world’s most prestigious museums.
      He says so far he has recovered 5,000 artifacts since becoming antiquities head in 2002.

      1. Joseph Freeman, The Met returns Egyptian artifact, The Associated Press Oct. 27, 2009.
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