Matthew Leininger, of the Oklahoma City Museum of Art, was the first person to pursue Mark Landis, but Landis had been suspected as a forger by at least one museum, the Lauren Rogers Museum of Art, in Laurel, Mississippi. In 2003, five years before Everett Shinn called "Nymph on the Rocks." Landis had promised other works, which the museum tried for a year to obtain; which he didn't provide the pieces, the staff grew suspicious of him.

Some people consider Landis to be not so much a forger as a con artists which is the epithet Leininger most often employs. Noah Charney, an art historian who is the founder of the Association for Research Into Crimes Against Art, in Rome, wrote me that he thinks of Landis as an adept impostor "more akin to identity fraudsters, like Clark Rockefeller." Money isn't what such people desire. They want to be treated as substantial citizens. "Social status and a feeling of belonging is their reward," Charney wrote. In this context, the painting or drawing Landis spends an hour making is ephemeral: it needs to last only long enough to admit him to a sympathetic haven.   

Statues recovered from Malawi National Museum (ahram.org)

On Saturday night, 24 August, five ancient Egyptian and Graeco-Roman artefacts were recovered by police. The objects include three Graeco-Roman reliefs made of marble and limestone. The first is broken into two parts and features a painting of a rabbit. The second has Graeco-Roman text while the third bears a deep engraving of two rabbits — the sign of Al-Minya in Graeco-Roman times. 

The other two artefacts are carved in bronze, featuring Djehuti, the goddess of wisdom.

On Friday, 11 objects were recovered, among them two Graeco-Roman papyri found by chance in a corner of the museum’s garden. Ahmed Sharaf, head of the museum section at the Ministry of State for Antiquities, explained that one of the papyri bears 23 lines written in Demotic while the second bears seven lines written in Demotic. 

The rescued objects include three clay pots, a limestone statue of the god Thot in the shape of a sitting baboon, two bronze statues of the god Osiris and a rectangular relief bearing a drawing of an Ibis bird and the palm of goddess Maat. 

Minister of State of Antiquities Mohamed Ibrahim is happy for the return of some of the museum’s collection, he told Ahram Online. The objects were restituted after the ministry promised Al-Minya inhabitants that no legal procedures would be taken against anyone returning a looted artefact. 

Ibrahim asserted that security has been tightened at Al-Ashmounein archaeological site and galleries, to stop any illicit excavations there.

Ahmed Sharaf, head of the museum section at the MSA explained that the coins all depict the features of a Roman emperor called Valdese in his battle suit, left hand clutching a bunch of flowers while the right one holds a cross.

The damages caused by the looters are catastrophic. Most of the artefacts have been stolen, destroyed or burned. Around one thousand cultural objects, dated from the beginning of the Egyptian history to the Islamic period, have disappeared (coins, jewels, statues, etc).

Hermopolis West, on the modern site of Tuna al-Gebel near Minya, was the necropolis of the city of Hermopolis, sacred to the Greek god Hermes and his Egyptian counterpart Thoth. It is best known for the sprawling catacombs at the foot of the western cliffs, where thousands of ibises (dedicated to Thoth) and other sacred animals were buried from the New Kingdom through Roman times. Besides multitudes of ibises and baboons, the galleries were also used for the burials of fish, pigs, dogs, cats, goats, pelicans, monkeys, falcons, larks, and kestrels, all mummified and placed into pottery jars. Potsherds and torn and broken mummies are still strewn in the passages today.

Another major attraction of the site is the early Ptolemaic tomb of a high priest of Thoth named Petosiris, decorated with reliefs in a blend of Greek and Egyptian styles. Petosiris's wooden coffin, exquisitely inlaid with colored glass hieroglyphs, can be seen in the Egyptian Museum.

A number of Roman-era tombs lie to the south. The most famous of these belongs to Isadora, a young woman who drowned in the second century BC. Her mummy lies in a glass case in her tomb.

The oldest monument at Tuna al-Gebel is a stele marking the northwest boundary of Akhenaten’s city at Amarna, partway up a slope north of Hermopolis West. It bears scenes of Akhenaten and Nefertiti worshipping the sun disk (the Aten) and is carved with an extensive text describing the founding of the city.

Thieves have stolen four works of art from the Museum van Bommel van Dam in Venlo forcing the front door in the early hours of Friday morning. Three of the works are by Jan Schoonhoven and one by Tomas Rajlich and they have a combined value of €1.1m, museum officials said.

As you might know, I specialize in solving museum thefts, discovering fakes, and illicitly traded antiquities. In the case of museum thefts, my main goal is to return the stolen artworks. Catching the thieves is not a priority, unless somebody was murdered or hurt during the robbery. In fact, a museum theft is a regular burglary but with a valuable loot. People like me, or Dick Ellis and Charley Hill (both former Scotland Yard), specialize in bringing these artworks back home where they belong. People who are in the possession of stolen art - mostly not the original thieves - prefer to contact us instead of going to the police. 

A few weeks ago I was contacted by someone who needed to talk to me. He had read about me in the media and knew that I had returned stolen objects to the police in various countries. I arranged a few meetings with him in Amsterdam. After I had gained his confidence, he told me that he had discovered that three works of art in his possession had been stolen from a museum in Venlo in The Netherlands. He told me that he had quite a criminal record but that he was an art lover too. He just could not burn the paintings in order to get rid of them. But, if he himself would turn them in, they would arrest him anyway, he said, although he had bought these pieces legally in some shop. He showed me a receipt.

I answered that I don’t mind what, who and when: nobody was hurt during the robbery and the main goal was to bring the pieces back. After all, the paintings from the recent Kunsthal Rotterdam theft, also in the Netherlands, might have been burned after the thieves panicked. I told him that my work is to prevent people from panicking. I also explained to him that in cases like this, recovering the pieces is the main goal. I offered to return the two works and to keep his name out which he appreciated because “that option is far better than burning the art…” 

He told me that there was one more secret. According to him, he had auctioned one of the four stolen artworks at Sotheby’s, London, before finding out that the two others in his possession were stolen. He checked the painting-numbers from the four stolen ones with the ones auctioned at Sotheby’s but they did not correspond. But he still could not believe that that one was not stolen too. So he gave me the paperwork of the auction and told me to deliver that too to the police. And then he said: “Arthur, I will go with you…” 

So he went without me to get the two stolen works, came back and we went to the police station. We smoked a cigarette outside, gave each other a hug and then went in."

Now it turns out that the Art Loss Register had warned Sotheby’s that their lot might be a stolen one but after Sotheby’s checked the numbers on the back – which did not correspond – they decided to sell it anyway. The buyer – an expert in the work of Schoonhoven, the artist – discovered that it indeed was stolen from the museum in Venlo, only three months before the auction.  How on earth could this have happened? What a shame.

Noah Charney: Could you begin by telling me about the very first work that you forged, the process of making it, and what made you turn to creating a work that would be passed off as something it was not? 

Ken Perenyi: The first one was a matter of circumstance that led me to it. I found myself in a great need of money when I was 18, and I had already started painting. I had worked under the direction of a well-known commercial artist from New York called Tom Bailey, and I discovered that I had a real natural talent for oil painting. It impressed my mentor, Tom, and I learned to paint simply by looking at Old Masters in museums. I never had lessons or formal training, it was just looking at paintings, studying them, and figuring out how the artists achieved their effects. 

I started painting in 1967, with no intention of creating fakes. I wanted to paint surrealistic pictures to impress my friends at the time. The hippy era was big, and my friends from New York City were all avant-garde, they were all older than me. They leased a crumbling old mansion on the Palisade cliffs overlooking the Hudson River, and so I began hanging out there with them. I wanted to fit in and impress them, so I started painting a number of surrealistic pictures. But everyone who looked at them said that they seem to be influenced by the Old Masters -- that wasn't a criticism, just an observation. And that's the way I understood how to paint, to layer and make things appear like the Old Masters.

I spent a lot of time in museums, studying painting. When I found myself in desperate need of cash, an artist friend joked that I should try forging a painting. He gave me a book about the forger [Han] van Meegeren, that he had just finished reading. I was impressed, and in the brashness of youth, I figured, maybe I can do this?

On my next trip to the museum, I visited the Dutch section and was looking at the portraits. I looked at these little portraits, and thought that they've got to be simple. I thought, why don't I try something like this? So I painted one on a small wooden panel that I scavenged, it was the bottom of an early piece of furniture. I managed to make a fine little portrait on the panel, and was able to sell it to a gallery on 57th Street [in New York]. I got $800 for it -- that was my first fake. From that point on, it wasn't a matter of if I would paint another one, but when I would paint another one. It was the beginning of a career -- I didn't look upon it as a career at that point, I saw it as something I could always fall back on, to raise some quick cash, until a turning point came later in life.