That these works are sometimes fake or misleadingly labeled is no surprise to art experts and to foundations that monitor online art sales. But fraud has saturated certain sectors of the art market, experts say. 

“In every country that I visit, even Abu Dhabi, I’m approached by artists or estates who are desperate about the fake situation,” said Véronique Wiesinger, the director and senior curator of the Alberto and Annette Giacometti Foundation in Paris. “We counted the other day 2,005 fake Giacometti sculptures for sale” on just one Web site, she added. 

Many reputable online sellers, of course, deliver precisely what they advertise. “There is a lot of buying online, and most people are satisfied,” said Alan Bamberger, an art consultant and appraiser. 

Over the last few years the Internet has broadened the art market far beyond the exclusivity and opaque jargon of its moneyed enclaves and has helped turn the slogan “art for everyone” into reality. But it has also become a sort of bazaar, where shoppers of varying sophistication routinely encounter all degrees of flimflammery, from the schemes of experienced grifters to the innocent mistakes of the unwitting and naïve. A recent study by statisticians at George Washington University and the University of California, Irvine, estimated that as many as 91 percent of the drawings and small sculptures sold online through eBay as the work of the artist Henry Moore were fake.

This presentation aimed to outline the thought and philosophy behind the modern concept of cultural heritage protection in Italy -- both in legal terms but also in the broader sense of the monument's material preservation. 

The first edicts concerning heritage protection appeared in the Papal States during the Early Renaissance. In a later stage, law shielding heritage from the damages of natural decay, war, plundering or illegal exportation became more sophisticated, especially during the 19th century with the historical processes of nation-formation, where monuments or works of art acquired the symbolic meaning of the country's Volksgeist. The fundamental ideas present in those pioneering decrees are reflected in the contemporary international legislation and to this regard, I attempt to highlight the growing awareness -- legal, social, and political -- of the value of cultural heritage that went beyond the territorial boundaries of the Italian peninsula.

(Left to right): Kirsten Hower (moderator), Felicity Strong, Theodosia Latsi, and Verity Algar

In the twentieth century, there has been the rise of depiction of the art forger in non-fiction biographies and memoir. Distinct from scholarly research, these depictions of individual art forgers have developed a common mythology, which weaves through each story of the art forger. The art forger is mythologised as a hero; the failed artists rallying against a corrupt art market, dominated by greedy art dealers and scholars. In Australian and British culture, this mythology has its roots in the wider mythology of hero criminal, such as in the stories of Robin Hood or Ned Kelly. It also feeds into a broader anti-intellectualism and mistrust of the establishment, particularly in contrast to the depiction of art curators and connoisseurs in the depictions. This mythology is evident in a number of biographies of notable forgers, such as Han van Meegeren and Elmyr de Hory, which intersect with the sub-genre of memoir, in the personal accounts of Tom Keating, Eric Hebborn and Ken Peryani. These accounts fuel the ability of the forgers to create their own public persona and feed into the wider mythology of the art forger. Analysis of non-fictional depictions of the art forger may offer an insight into why it is not considered as serious as other crimes and worth of closer scrutiny by the broader community.

Using two disparate case studies -- claims for the restitution of artworks confiscated by the Nazis being lodged by Jewish families and concerns regarding the presence Melanesian malanggan in Western museum collections -- I will discuss the importance of collective, or cultural memory in the context of making decisions about whether to restitute objects. The two cases can be differentiated by the approach to social memory taken by the groups involved. Many Jewish people are keen to have their property returned to them, whereas the people of New Ireland do not want the malanggan, which they spent months carving, returned to them. I discuss the problems that arise when legal definitions of ownership clash with cultural notions of property and illustrate this using Marie Altmann's successful restitution of five Klimt paintings from the Australian government and the malanggan example. I draw on the language of restitution claims and the display of Nazi-looted art at Israel's Yad Vashem museum and will apply Appadurai's theory that objects have "social lives" to overcome the dichotomy between the cultural value and monetary value of an object. I conclude that cultural memory is a useful concept to apply to restitution claims. Its impact can vastly differ from case to case, as illustrated by the divergent attitudes to memory and cultural property in the Jewish and Melanesian case studies. Cultural memory needs to be defined on a cultural-specific basis. The concept of cultural memory allows cultural objects to be part of the collective cultural memory of one group of people, whilst being legally owned by an individual.

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.