Fake Coptic art in the Brooklyn Museum

ARTINFO

Edna Russmann, a curator at the Brooklyn Museum of Art, has said that about one third of the museum's Coptic art — early Christian Egyptian art — collection is fake, the Independent reports. Although chemical testing on the works has not yet been completed, Russmann said she is fairly certain that 10 to 30 of the pieces are fake and that about half of the remaining objects have likely been recarved or retouched.

Russmann says she began to have doubts about the collection four years ago. According to the Art Newspaper, which first reported the story, Baltimore-based Byzantine specialist Gary Vikan first noted the possibility of fakes in the collection in the early 1970s but never went public with the concern.

The Independent, UK

Although some chemical testing on the works has yet to be completed, Dr Russmann
considers that 10 of the 30 examples of Coptic art – Christian imagery in limestone from Egypt dating between the late fourth century and AD641 – held by the museum are phoney. Moreover, about half the other pieces have probably been extensively recarved and retouched.

Part of the purpose of the exhibition will be to alert other US institutions to the possibility that they too have fake pieces in their collections. "There are lot of museums in this country that have maybe two or three or four pieces," she said.

New York Sun

Doubts about the Brooklyn Museum's sculptures date back at least to 1977, when a Byzantine art scholar who is now the director of the Walters Art Museum in Baltimore, Gary Vikan, argued that they were forgeries in a lecture he delivered at Columbia.But if the existence of the fakes is old news, where and by whom they were made remain mysterious.

According to a 2001 article by a former curator at the Brooklyn Museum, Donald Spanel, a large number of fakes appeared on the market beginning in the late 1950s, offered by dealers mostly in Switzerland and in New York. One New York dealer, Jerome Eisenberg, acknowledged in a phone interview that he had sold the museum one piece now considered to be fake, a roundel with a border of palm fronds and a central bust. The museum acquired the piece in 1960.

Asked where he bought the roundel, Mr. Eisenberg said that he purchased it from a "very reliable, very ethical" dealer in Cairo, a Copt named Kamel Hammouda. Asked if he knew where Mr. Hammouda got the sculpture, Mr. Eisenberg said that it was against the rules of the trade at the time to ask such questions.

See the above links for the full stories

The Intellectual Consequences of Collecting Coptic Art

Looting Matters (David Gill)

Following on from recent reports about fact Coptic art held in museum collections, David Gill has made the brief point that he and Christopher Chippindale have been making for many years - which is that "Collecting recently-surfaced antiquities (ancient or of modern creation) has intellectual consequences for the study of the ancient world," a point which they initially made with regard to Cycladic figures in an article entitled Material and Intellectual Consequences of Esteem for Cycladic Figures (American Journal of Archaeology 97, 1993).

Anyone who has looked at Predynastic rchaeology in Egypt is well aware of the problem too - the number of unprovenanced palettes, labels, figurines and ceramics is quite staggering and with many of them it is unknown whether they are genuine or not. I was told recently that a set of "Predynastic" figurines in the British Museum are now considered to be fakes - which was more than a shame for the researcher friend who was planning to use them in part of his work! And the Harrogate Vase is a good case in point.

Fake Coptic art in the Brooklyn Museum?

ARTINFO

Edna Russmann, a curator at the Brooklyn Museum of Art, has said that about one third of the museum's Coptic art — early Christian Egyptian art — collection is fake, the Independent reports. Although chemical testing on the works has not yet been completed, Russmann said she is fairly certain that 10 to 30 of the pieces are fake and that about half of the remaining objects have likely been recarved or retouched.Russmann says she began to have doubts about the collection four years ago. According to the Art Newspaper, which first reported the story, Baltimore-based Byzantine specialist Gary Vikan first noted the possibility of fakes in the collection in the early 1970s but never went public with the concern.

The Independent, UK

Although some chemical testing on the works has yet to be completed, Dr Russmann
considers that 10 of the 30 examples of Coptic art – Christian imagery in limestone from Egypt dating between the late fourth century and AD641 – held by the museum are phoney. Moreover, about half the other pieces have probably been extensively recarved and retouched.

Part of the purpose of the exhibition will be to alert other US institutions to the possibility that they too have fake pieces in their collections. "There are lot of museums in this country that have maybe two or three or four pieces," she said.

Exhibition: Coptic fabrics on display in Florida, U.S.

Creative Loafing (Megan Voeller)

There's also a press release in PDF format on the gallery's website.

Unlike any other gallery or museum in the area, Ybor's Brad Cooper Gallery takes a foray into the fiber arts of the ancient world with an exhibit of Coptic textiles curated by Egyptologist Dr. Robert Bianchi. The roughly 20 woven fragments on display, which date to 400-800 A.D., offer a deep historical context for the mostly contemporary weavings on view in other local exhibitions. To be sure, the ancient Egyptians were proficient weavers of plain flax long before the cotton and wool weavings of the Coptic period were produced, but these cryptic relics -- characterized by intricate patterns, color and human and animal figures -- mark an evolutionary jump in the complexity of the craft.

The Copts, early Christians native to Egypt, were a multicultural group, steeped in classical Greek culture -- not only its mythology but the Greek practice of dyeing, spinning and weaving with wool and cotton fiber -- as well as emerging Christian iconography.

Coptic icon of Saint Mark's Church, Azbakya, Cairo

Al Ahram Weekly

The Coptic Orthodox Church celebrated the entry of the Holy Family into Egypt on 24 Bashans of the Coptic calendar -- which coincided with 1 June. The above-pictured ancient icon, dating back to the first century AD, was reproduced from an original icon that was illustrated by Saint Luke, The Physician. The original icon depicts the Virgin Mary holding the Infant Jesus, while John the Baptist was kissing Christ's feet, and beside him a lamp, which is a symbol of Christ himself.

The reproduced icon exists in the Church of the Virgin Mary known by the name Al- Ezbaweya), which is in the neighbourhood of Saint Mark Church in Azbakya district of Downtown Cairo.

According to tradition, the site where the church today stands, Ezba (or a farm) was owned by a benevolent man, who was sowing watermelon seeds, and kindly hosted the Holy Family and afforded them water from a well -- which still stands in the grounds of the church.

See the above page for the rest of the story.

Coptic treasures get the home they deserve

Al Ahram Weekly by Nevine El-Aref

Mogamaa Al-Adian, Old Cairo's religious compound, is finally free of the roar of trucks and lorries that have blocked the entrance to the Coptic Museum for three years now. And the museum itself, with its limestone façade loosely based on the Al-Aqmar Mosque, has finally opened its doors to visitors in an area the attractions of which include the Mosque of Amr Ibn Al-Aas, the Hanging Church and the Synagogue of Beni-Ezra.

On Monday President Hosni Mubarak formally opened the museum during a ceremony attended by Prime Minister Ahmed Nazif and scores of Egyptian ministers and senior government officials. The president was guided through the museum's 26 galleries, containing 13,000 items, by Culture Minister Farouk Hosni and Supreme Council of Antiquities' Secretary-General Zahi Hawass. They also watched a 15-minute documentary film on the restoration of the museum.

"The restoration of the Coptic Museum was an ambitious project," says Hosni. "It is one of Cairo's oldest museums and its restoration is an illustration of the government's commitment to preserving the nation's Coptic, as well as its Pharaonic and Islamic, heritage."

See the above page for the full story.

Coptic art steals the show

Al Ahram Weekly by Jill Kamil and Nevine El-Aref

Who are the Copts? What is their history? Who founded the famous monasteries on the Red Sea coast? With Coptic Egypt significantly overshadowed in the West by an unquenchable thirst for all things Pharaonic, these questions fail to figure on any considerable scale in foreign exhibitions of Egyptian antiquities.

Which is what makes the exhibition on Coptic art at the Arab World Institute (Institut du Monde Arabe) in Paris so exciting. Celebrating 2,000 years of Christianity in Egypt, it is the first exhibition of Coptic art in France for 36 years. An earlier exhibit, at the Petit Palais in Paris in 1964, was on a much smaller scale and did not include any objects from Egyptian collections.

The current exhibition, which will run at the Arab World Institute until September, features more than 350 unique objects, 105 of which are from the Coptic and Islamic museums in Cairo. In France, objects have been chosen from the Louvre, in Paris, and the Textile Museum in Lyon. Other objects hail from Italy's Turin Museum, the British Museum, the Egyptological Institute of Heidelberg, the Pierpont Morgan Library in New York, Russia's Hermitage in Saint Petersburg and the Pushkin Museum in Moscow.

"This is the first time ever that Coptic objects from Egypt have been selected for exhibition abroad," said Gaballa Ali Gaballa, secretary-general of the Supreme Council of Antiquities (SCA). The bulk of Egyptian objects are from Cairo's Coptic Museum.

The exhibition is in the central hall of the institute, one of the most splendid and prestigious locations covering an area of 1,200 square metres. The objects are divided into numerous sections that cover the gamut of Coptic history -- from icons to children's toys to funerary objects. Displays range from textiles and manuscripts to cosmetics, jewellery, ceramics, wall paintings, metalwork and stone and wooden statues. Visitors will also see Coptic literature, on papyrus and parchment, as well as stone fragments inscribed with texts (known as ostraca).

See the above page for more details, with photographs.