British Museum Says It Has Recovered Some of the Stolen 2,000 Items

Visitors arrive to the British Museum in London, Britain, January 25, 2023. (Reuters)
Visitors arrive to the British Museum in London, Britain, January 25, 2023. (Reuters)
TT

British Museum Says It Has Recovered Some of the Stolen 2,000 Items

Visitors arrive to the British Museum in London, Britain, January 25, 2023. (Reuters)
Visitors arrive to the British Museum in London, Britain, January 25, 2023. (Reuters)

The head of trustees at the British Museum said Saturday that the museum has recovered some of the 2,000 items believed to have been stolen by an insider, but admitted that the 264-year-old institution does not have records of everything in its vast collection.

Chairman of trustees George Osborne acknowledged that the museum’s reputation has been damaged by its mishandling of the thefts, which has sparked the resignation of its director and raised questions about security and leadership.

Osborne told the BBC Saturday that 2,000 stolen items was a “very provisional figure” and staff were working to identify everything missing. The items include gold jewelry, gemstones and antiquities as much as 3,500 years old. None had been on public display recently.

He said the museum was working with the antiquarian community and art recovery experts to get the items back.

“We believe we’ve been the victim of thefts over a long period of time and, frankly, more could have been done to prevent them,” he said. “But I promise you this: it is a mess that we are going to clear up.”

Museum director, Hartwig Fischer, announced his resignation on Friday, apologizing for failing to take seriously enough a warning from an art historian that artifacts from its collection were being sold on eBay. Deputy director, Jonathan Williams, also said he would step aside while a review of the incident is conducted.

In early 2021, British-Danish art historian and dealer Ittai Gradel contacted the Museum bosses with his suspicions, but they assured him nothing was amiss. However, at the start of this year, the museum called in London’s Metropolitan Police force.

The museum has fired a member of staff and launched legal action against them, but no arrests have been made.

Gradel told The Associated Press Friday he became suspicious after buying one of three objects a seller had listed on eBay. Gradel traced the two items he didn’t buy to the museum. The object he bought wasn’t listed in the museum’s catalog, but he discovered it had belonged to a man who turned over his entire collection to the museum in 1814.

The historian said he found the identity of the seller through PayPal. He turned out to be the museum staff member who has since been fired.

Gradelsaid Williams had assured him that a thorough investigation found no improprieties. “He basically told me to sod off and mind my own business.”

Fischer said in his resignation statement that “it is evident that the British Museum did not respond as comprehensively as it should have in response to the warnings in 2021.” He also apologized to Gradel.

The thefts, and the museum’s bungled response, have plunged the institution into crisis. The 18th-century museum in central London’s Bloomsbury district is one of Britain’s biggest tourist attractions, visited by 6 million people a year. They come to see a collection that ranges from Egyptian mummies and ancient Greek statues to Viking hoards, scrolls bearing 12th-century Chinese poetry and masks created by the Indigenous peoples of Canada.

The thefts have been seized on by those who want the museum to return items taken from around the world during the period of the British Empire, including friezes that once adorned the Parthenon in Athens and the Benin bronzes from west Africa.

“We want to tell the British Museum that they cannot anymore say that Greek (cultural) heritage is more protected in the British Museum,” Despina Koutsoumba, head of the Association of Greek Archaeologists, told the BBC this week.

Osborne, a former UK Treasury chief, said the museum has launched an independent review led by a lawyer and a senior police officer. He said it also had built a state-of-the-art off-site storage facility so the collection would no longer be housed in an “18th-century basement.”

“I don’t myself believe there was a sort of deliberate cover-up, although the review may find that to be the case,” he said.

“But was there some potential groupthink in the museum at the time, at the very top of the museum, that just couldn’t believe that an insider was stealing things, couldn’t believe that one of the members of staff were doing this? Yes, that’s very possible.”



Libyans Savor Shared Heritage at Reopened National Museum

Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)
Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)
TT

Libyans Savor Shared Heritage at Reopened National Museum

Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)
Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)

In a historic building in central Tripoli, Libyans wander past ancient statues and artifacts, rediscovering a heritage that transcends political divides at their national museum which reopened this month after a 2011 uprising.

"I got here barely 15 minutes ago but I already feel like I've been transported somewhere. It's a different world," said architecture student Nirmine Miladi, 22.

In the waterfront building known as the red citadel -- once the seat of power -- visitors journey through a history that includes ancient art, Greek and Roman antiquities and Ottoman-era weapons and jewellery.

Miladi's sister Aya, 26, an interior design student, said she liked the bright new museum's layout, "the careful lighting, the screens and interactive tools" that all help make the museum accessible to all.

Libya plunged into chaos after a NATO-backed uprising toppled and killed longtime leader Moammar al-Gadhafi in 2011, and the country has struggled to regain stability.

Since then, the North African country has been divided, with two rival executives vying for power: a Tripoli-based Government of National Unity and an administration based in Benghazi in the country's east.

Mohamed Fakroun, head of international cooperation at the antiquities department, said the museum went through "a dark period during its 14-year closure".

Fearing looting and vandalism after Gadhafi's overthrow, the antiquities department removed "all the artifacts until the country re-stabilized", said Fakroun, 63, who has worked at the French archaeological mission to Libya for almost four decades.

- 'National symbol' -

Curator Fathiya Abdallah Ahmad is among a handful of people who knew the location of secret, sealed rooms where the museum's treasures were taken into hiding for more than a decade.

She said the antiquities department and staff worked to "preserve a historic and cultural heritage that belongs to all Libyans".

This allowed the works to be safeguarded until the museum could reopen "in a modern format that conforms to international standards", she added.

The bright new facility includes digital projections and interactive screens as well as videos, audio guides and QR codes enabling visitors to delve further.

Fakroun noted the museum has a room dedicated to Roman emperor Septimius Severus, who was born in the ancient city of Leptis Magna -- now a UNESCO World Heritage site east of Tripoli.

Another room is dedicated to stolen items that have since been returned, including from the United States and the United Kingdom, he added.

Interior design student Aya Miladi said many Libyans saw the museum's inauguration as the "return of a national symbol".

It is also "a step towards reconciliation between Libyans and with their often little-known past", after years of war, as well as a sign of stability, she added.

- 'Not without past' -

Teacher Fatima al-Faqi, 48, said there was "a world of difference" between the reopened museum and the dark, dusty facility she visited 30 years ago on a school trip.

This time, she was leading a group of high-school students to help them "discover Libya's history and nourish their sense of patriotism", she said, as pupils goggled at items from Roman statues to stuffed animals in the natural history section.

The Tripoli government has invested more than five million dollars in rehabilitating the museum and its surrounding area, despite the oil-rich country's economic woes including frequent cash and fuel shortages.

Fakroun said the six-year renovations were carried out in cooperation with the French mission and the ALIPH foundation -- the International Alliance for the Protection of Heritage.

The museum seeks to convey a hope-filled message about Libya's identity to its visitors, most of whom "were not born when it was last open before 2011", he added.

Visitor Sarah al-Motamid, 34, said that "many people don't know about our country's ancient history and look at us as if we were worthless".

She said she was visiting with her six-year-old daughter Mariam because she wanted her to "understand that we are not without a past or civilization".


Cultural Camp at King Abdulaziz Camel Festival Showcases Saudi Heritage

The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA
The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA
TT

Cultural Camp at King Abdulaziz Camel Festival Showcases Saudi Heritage

The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA
The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA

The cultural camp is a key feature of the 10th King Abdulaziz Camel Festival, held in Al-Sayahid desert. The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity, according to SPA.

It offers a range of programs, including live performances and interactive events, that highlight camels' historical significance in Arab culture and illustrate the values of patience, strength, and belonging.

The camp has attracted over 2,000 guests from 71 nationalities, emphasizing its global appeal as a cultural platform for diversity and tradition.

Visitors engage with cultural content through innovative methods that merge authenticity with modern technology, enhancing awareness of the camel's cultural legacy. This initiative aligns with Saudi Vision 2030 by preserving heritage and connecting younger generations with their roots.


Tuwaiq Sculpture 2026 Announces 25 Participating Artists for Seventh Edition

The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA
The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA
TT

Tuwaiq Sculpture 2026 Announces 25 Participating Artists for Seventh Edition

The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA
The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA

Under the Royal Commission for Riyadh City and Riyadh Art, Tuwaiq Sculpture has announced the selection of 25 artists for the seventh edition of the annual sculpture symposium and exhibition, taking place from January 10 to February 22, 2026.

This year’s edition unfolds under the curatorial theme “Traces of What Will Be,” inviting artists to reflect on how sculptural form can express the physical, cultural and conceptual traces that shape the future of cities and communities, SPA reported.

A total of 25 artists from 18 countries, including Saudi artists, have been selected for the seventh edition. Their proposals reflect a diverse range of artistic approaches, responding to the theme through explorations of transformation, place, and materiality.

Director of the Tuwaiq Sculpture Symposium Sarah Alruwayti said: "The seventh edition of Tuwaiq Sculpture received more than 590 applications, reflecting the cultural diversity and global interest in the symposium. The selection of the 25 participating artists was carried out by a jury of industry experts and specialists. Their proposals show meaningful engagement with the theme and reflect the strength and diversity of contemporary sculptural practice. We look forward to welcoming them to Riyadh for the creation of new works that will become lasting additions to the city.”

Building on the evolving material practice of the symposium, Tuwaiq Sculpture 2026 introduces two sculpting categories: granite with optional stainless-steel integration and reclaimed metal. Twenty artists will work in granite, while five will create new works in reclaimed metal. Over four weeks, they will produce large-scale sculptures that will later be added to Riyadh Art’s permanent public art collection.

The 2026 edition features a month-long live sculpting phase alongside a community engagement program, inviting visitors to witness the creation of artworks and take part in panel discussions and workshops. The symposium will conclude with a public exhibition showcasing the completed sculptures from its seventh edition.