Seven Georgians Tried in France over Theft of Rare Russian Books

 A bookseller holds a book while standing at a book shop in the GUM department store, during the annual Red Square Book Festival, celebrating Alexander Pushkin's birthday in Moscow, on Friday, June 5, 2026. (AP)
A bookseller holds a book while standing at a book shop in the GUM department store, during the annual Red Square Book Festival, celebrating Alexander Pushkin's birthday in Moscow, on Friday, June 5, 2026. (AP)
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Seven Georgians Tried in France over Theft of Rare Russian Books

 A bookseller holds a book while standing at a book shop in the GUM department store, during the annual Red Square Book Festival, celebrating Alexander Pushkin's birthday in Moscow, on Friday, June 5, 2026. (AP)
A bookseller holds a book while standing at a book shop in the GUM department store, during the annual Red Square Book Festival, celebrating Alexander Pushkin's birthday in Moscow, on Friday, June 5, 2026. (AP)

Seven Georgian nationals will be tried in Paris starting Tuesday for the theft of rare editions of Russian literary classics from prestigious French libraries, including works by Alexander Pushkin.

The trial is the latest case seeking justice for a spate of similar thefts in recent years from libraries across Europe, suspected to be the work of an organized network.

The thefts targeted rare Russian classics worth millions of euros in total, including by 19th-century literary greats Pushkin and Nikolai Gogol.

The defendants on trial in France have been charged with criminal conspiracy and intent to commit an offence, while some of them are also charged with theft of an exhibited cultural object. They face up to 10 years in prison.

Two are being tried in absentia, with warrants out for their arrests.

Two others -- identified only as Mikheil Z. and Beqa T. -- have already been convicted and imprisoned in other countries for similar crimes and have been temporarily handed over to France.

Mikheil Z., 50, was sentenced last year in Lithuania to three years and four months in prison for the organized theft of 19th-century publications valued at 606,000 euros ($698,000).

Beqa T., 49, was sentenced to three years and six months in prison in Estonia.

French investigating judges suspect the defendants were part of "an organized criminal network", according to parts of the investigation seen by AFP.

The thefts, which also hit Germany, Switzerland and the Czech Republic, spurred the creation of a joint investigation team under the European Union police and justice coordination agencies Europol and Eurojust that led to several arrests in 2024.

- 'Strengthening its protection' -

The crimes in France took place in 2023 at the Diderot Library of the Ecole Normale Superieure (ENS) in the eastern city of Lyon, and at the National Library of France (BnF) and the University Library of Languages and Civilizations (BULAC) in Paris.

According to investigators, the thieves went to the libraries to consult rare and valuable works, photographing and measuring them, and returned later to replace them with virtually undetectable copies.

Between March and October 2023, Mikheil Z. went to the BnF 40 times to request access to manuscripts, mainly by Pushkin, claiming he was doing research on democracy in 19th-century Russian literature.

In November, the library realized nine works had been replaced with copies, with an estimated loss of 650,000 euros.

Mikheil Z. admitted to investigators that he stole the works but denied working with the other defendants, claiming he was driven by greed and had sold the books in Russia.

In June 2024, Russia's Litfond auction house listed in its catalogue a second edition of Pushkin's "The Prisoner of the Caucasus", a book corresponding to a copy stolen from the BnF.

The auction house told French authorities it had documentation proving the book was acquired from its owner in Russia in 2014/2015.

In the eyes of the investigative judges, the thefts may be linked to a desire to repatriate Russia's cultural heritage at a time when Moscow's relations with Europe have been increasingly strained over the Russian invasion of Ukraine.

None of the stolen works have been found, though BnF lawyer Alexandre de Konn said the institution "has not given up hope of recovering these works".

The library "remains true to its mission: to continue making heritage open to the public while constantly strengthening its protection", he told AFP.



Bayeux Tapestry is at the British Museum after Secret Journey from France

Workers prepare to unload a specially designed crate (back L) carrying the Bayeux Tapestry at the British Museum in central London early on July 10, 2026. (Photo by Richard A. Brooks / AFP)
Workers prepare to unload a specially designed crate (back L) carrying the Bayeux Tapestry at the British Museum in central London early on July 10, 2026. (Photo by Richard A. Brooks / AFP)
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Bayeux Tapestry is at the British Museum after Secret Journey from France

Workers prepare to unload a specially designed crate (back L) carrying the Bayeux Tapestry at the British Museum in central London early on July 10, 2026. (Photo by Richard A. Brooks / AFP)
Workers prepare to unload a specially designed crate (back L) carrying the Bayeux Tapestry at the British Museum in central London early on July 10, 2026. (Photo by Richard A. Brooks / AFP)

After almost 1,000 years, the Bayeux Tapestry is back on English soil.

In scenes like a heist movie in reverse, the priceless Medieval artwork was spirited into the British Museum on Friday in the dead of night, after a high-tech, tight-security operation where any slip-up could have spelled disaster.

On loan from its home in France, the tapestry will go on display at the London museum from Sept. 10 until July 2027. It's a public homecoming for a vivid visual record of the 1066 Norman invasion, the last successful conquest of England.

The tapestry's arrival in London has been widely anticipated, but due to security concerns all details of when and how it would arrive have been kept under wraps.

“It feels extraordinary that after so much work and planning and care and thought that it’s actually happening,” The Associated Press quoted British Museum Director Nicholas Cullinan as saying as he awaited the arrival after a secrecy-shrouded journey.

“It’s the first time in 1,000 years that such an important piece of British — French too — history is going to be on these shores,” he said. “It’s incredibly exciting.”

The 70-meter (230-foot) tapestry was folded accordion-style in a climate-controlled case that was placed inside a shock-absorbing cradle. That went into a truck that crossed from France on a vehicle shuttle train through the Channel Tunnel.

After an 11-hour, 350-mile (560-kilometer) trip, escorted by police, the truck backed slowly into a loading bay at the museum, where workers gingerly eased the container, the size of a small car, to the ground. Museum staff and British and French diplomats who had been watching in hushed silence broke into applause.

The priceless cargo will spend several days acclimatizing before it is carefully unpacked and unfolded for an exhibition that the museum expects to be one of the most popular in its history. Some 100,000 tickets were sold in their first day on sale this month.

“It was like trying to get tickets to Glastonbury,” Cullinan said. “I don’t take for granted that people care that much about a 1,000-year-old embroidery. I think that’s an amazing thing.”

The tapestry is a symbol of Anglo-French relations Stitched in wool thread on linen fabric, the artwork depicts the events leading up to the Battle of Hastings in October 1066, when William, Duke of Normandy defeated King Harald’s Anglo-Saxon army. The invasion ended Saxon rule and made William the Conqueror the first Norman king of England.

Historians believe the tapestry was commissioned by Bishop Odo of Bayeux, William’s half brother, and was probably sewn by women in England — possibly nuns — before being taken across the Channel. It has spent most of the last millennium in the town of Bayeux in northwest France, apart from two short periods at the Louvre in Paris.

The tapestry symbolizes the sometimes fractious, intertwined histories of France and Britain, and securing the loan was a high-stakes diplomatic mission. It was announced during a state visit to the UK by French President Emmanuel Macron in July 2025. The loan coincides with renovations at the museum in Bayeux that houses it.

In return, the British Museum will loan treasures from the Sutton Hoo hoard — artifacts from a 7th century Anglo Saxon ship burial — and other items to museums in Normandy.

Retired British diplomat Peter Ricketts, who helped secure the deal as the UK’s special envoy for the tapestry, said “it’s an extraordinary mark of friendship and confidence in the UK to entrust this object to us for a year.”

“Macron, when he offered us the tapestry, I think he understood that it would have far more impact in the UK than it does in France, because it’s more fundamental to our national story,” he said. Everybody (in Britain) knows 1066.”

It's a vivid record of 11th century life and death It features 627 people and 737 animals and tells its story in 58 scenes brimming with vivid and sometimes gory detail. There are scenes of hand-to-hand combat, mutilated bodies and the unlucky Harold, felled by an arrow through his eye.

“It has an emotional richness that is really difficult to get from written sources,” said Millie Horton-Insch, project curator for the British Museum exhibition. “It just brings people closer to this history than any other object can. It’s not the same as reading a text. You are looking at something that was handled by the people who lived through it and felt compelled to record these events in this way. “

She said the document’s survival for 10 centuries despite myriad dangers — “moths, mice, mold damp, fire” — is miraculous, and may be partly due to its humble materials.

“It’s not really made of any blingy fabric,” she said. “It’s not gold, it’s not silver. There wasn’t the same temptation to cut it up and make it into vestments or repurpose it for anything.”

Some French cultural figures opposed the loan, arguing that moving the tapestry was too risky. Cullinan said the expert teams went to great lengths to ensure its safety, including making two trial runs of the journey to show it would not cause the fragile item too much stress.

“Such care has gone into it. I can’t think of a level of care for any other museum loan,” he said.
He said he understands why there are concerns.

“The tapestry arouses great interest and passion,” he said. “Which is a wonderful thing."


France Returns 23 Syrian Treasures After 15 Years as Macron Visits Damascus

This handout picture released by the official Syrian Arab News Agency (SANA) shows Syria's interim President Ahmed al-Sharaa and France's President Emmanuel Macron inspecting repatriated Syrian artifacts that had been on loan to the Arab World Institute in Paris since 2010, during an official ceremony at the at the People's Palace in Damascus on July 7, 2026. (SANA/AFP)
This handout picture released by the official Syrian Arab News Agency (SANA) shows Syria's interim President Ahmed al-Sharaa and France's President Emmanuel Macron inspecting repatriated Syrian artifacts that had been on loan to the Arab World Institute in Paris since 2010, during an official ceremony at the at the People's Palace in Damascus on July 7, 2026. (SANA/AFP)
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France Returns 23 Syrian Treasures After 15 Years as Macron Visits Damascus

This handout picture released by the official Syrian Arab News Agency (SANA) shows Syria's interim President Ahmed al-Sharaa and France's President Emmanuel Macron inspecting repatriated Syrian artifacts that had been on loan to the Arab World Institute in Paris since 2010, during an official ceremony at the at the People's Palace in Damascus on July 7, 2026. (SANA/AFP)
This handout picture released by the official Syrian Arab News Agency (SANA) shows Syria's interim President Ahmed al-Sharaa and France's President Emmanuel Macron inspecting repatriated Syrian artifacts that had been on loan to the Arab World Institute in Paris since 2010, during an official ceremony at the at the People's Palace in Damascus on July 7, 2026. (SANA/AFP)

France has finally returned 23 Syrian archaeological treasures that remained in the country for about 15 years after being loaned for an exhibition. Their return coincided with French President Emmanuel Macron’s landmark visit to Damascus — the first by a major Western leader since the ouster of Bashar al-Assad in late 2024.

The artifacts, flown aboard Macron’s presidential aircraft on Tuesday and returned to Syria’s National Museum, include Roman bronze objects, Byzantine and Islamic-era pieces and a richly colored mosaic panel that once adorned the Umayyad Mosque. The collection was loaned in 2011 to an exhibition of Syrian antiquities at the Arab World Institute in Paris.

The Syrian Foreign Ministry said that the artifacts belonged to museums in Damascus, Aleppo, Latakia and Palmyra and remained in France after diplomatic ties between the two countries were severed under Assad’s rule. It described France as the first country to cooperate with Syria under a national campaign to recover antiquities held abroad.

“Today we are unveiling a selection of archaeological artifacts that have been returned to Syria,” said Ayman al-Nabo, deputy director-general of Syria’s Directorate-General of Antiquities and Museums, at the opening of an exhibition at the National Museum in Damascus featuring two of the returned pieces.

At the National Museum, curator Nivine Saadeddine said the returned collection spans some of the most significant periods of Syrian civilization.

“They date from the ninth millennium B.C. to the 14th and 15th centuries A.D. Every object represents a distinct chapter in Syria’s history,” she said.

For Maamoun Abdulkarim, Syria’s former director-general of antiquities and museums, the return closes a chapter that stretched across years of war, diplomatic isolation and failed attempts to retrieve the collection.

Abdulkarim, now a professor of archaeology at the University of Sharjah in the United Arab Emirates, said the loan was made as part of normal cultural cooperation before the conflict.

Abdulkarim said he formally requested the return of the artifacts in 2014 but received no response. He said French officials later told Syrian authorities they could not communicate with representatives of Assad’s government, which had become internationally isolated and subject to broad sanctions after the crackdown on anti-government protests and the ensuing civil war.

He said UNESCO’s Beirut office later tried to mediate, but the effort also failed.

The dispute also had personal consequences, Abdulkarim said.

“We were interrogated by Bashar al-Assad’s security forces,” he said. “We were beaten and accused of being too lenient in protecting Syria’s antiquities. Had it not been for the correspondence we had sent to the institute proving we had repeatedly requested the artifacts’ return, we could have been imprisoned.”

Despite the ordeal, Abdulkarim said he welcomed the renewed cultural cooperation.

“I am very happy that, despite everything that happened, the war is over, Syria is reopening to the world and cultural exchange is returning,” he said.

Syria’s Ministry of Foreign Affairs said France is the first country to cooperate with Syria under a national campaign to recover antiquities held abroad since Assad was overthrown by opposition forces, ending more than five decades of Assad family rule.

Despite the war and severed ties, Syrian artifacts have previously been repatriated under formal loan agreements, Abdulkarim said.

Around 2017, Italy returned two pieces that had been damaged by the ISIS group after restoring them for an exhibition in Rome on the destruction of cultural heritage, he added.

Other artifacts remain in Japan under a longstanding archaeological cooperation agreement dating back to excavations conducted there in the 1980s.

Meanwhile, Abdulkarim said, thousands of Syrian artifacts looted from archaeological sites during the war remain scattered around the world.

“Recovering them will require years of diplomatic work,” Abdulkarim said.

He said the return from France sends “a positive message for the future” and could help encourage further international cooperation to recover Syria’s stolen heritage.

Syria’s cultural heritage suffered extensive damage during the country’s nearly 14-year conflict. Ancient cities, including the UNESCO World Heritage site of Palmyra, were heavily damaged, while landmarks such as the medieval Crusader fortress of Crac des Chevaliers bear scars from years of fighting.

ISIS militants also destroyed temples, tombs and monumental sculptures in Palmyra, considering them symbols of idolatry, while trafficked antiquities became a lucrative source of revenue for armed groups.


Red Sea Film Foundation Concludes Participation in 12th Saudi Film Festival

The Red Sea Fund presented four awards within the Production Market at the Saudi Film Festival - SPA
The Red Sea Fund presented four awards within the Production Market at the Saudi Film Festival - SPA
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Red Sea Film Foundation Concludes Participation in 12th Saudi Film Festival

The Red Sea Fund presented four awards within the Production Market at the Saudi Film Festival - SPA
The Red Sea Fund presented four awards within the Production Market at the Saudi Film Festival - SPA

The Red Sea Film Foundation won four awards for the three films supported by the Red Sea Fund during its participation in the 12th Saudi Film Festival, held at the King Abdulaziz Center for World Culture (Ithra) in Dhahran.

Hijra won the Golden Palm for Best Narrative Feature Film, while Irkalla: Gilgamesh’s Dream won the Golden Palm for Best GCC Feature Film. A Matter of Life and Death received a Jury Special Mention, while Sarah Taibah won the Golden Palm for Best Acting for her role in the film, SPA reported.

These awards reflect the presence of Red Sea Fund-supported films in the Saudi and regional film landscape and underscore the impact of the fund’s support for film projects at various stages, through to their screening before audiences and participation in festivals.

The Red Sea Fund presented four awards within the Production Market at the Saudi Film Festival. The short-film awards went to the projects Shareet and Bin Jalmoud, while the feature-film awards went to From Zero to a Thousand and Between the Two, directed by Malak Quota.

The Red Sea Film Foundation’s participation in the Saudi Film Festival comes as part of its ongoing cooperation with local film events and its support for Saudi and Arab talent and projects through its various programs and initiatives, foremost of which are the Red Sea Fund, Red Sea Souk, and Red Sea Labs.