Following the recent unrest in Cairo, museums around the world are looking out for any artefacts that may have been looted from sites there that were ransacked by protesters. An interesting change in approach, as 100 years ago, the museums would have been taking the artefacts for themselves… Interestingly though, this new public-spiritedness doesn’t apply retroactively to other artefacts in their collections acquired in similar circumstances.

From:
Reuters

Museums on high alert for ancient Egyptian loot
By Mohammed Abbas
LONDON | Wed Feb 2, 2011 2:49pm GMT

LONDON (Reuters) – International museums are on high alert for looted Egyptian artifacts and some archaeologists have even offered to fly to the country to help safeguard its ancient treasures, museums said Wednesday.

Egypt has been rocked by an unprecedented nine days of demonstrations against President Hosni Mubarak’s 30-year-rule, and fears are high for the country’s priceless heritage after looters broke into the Egyptian Museum in Cairo last week.
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Museums in the USA were founded on very different principles to many of those in Europe. Nowadays, this difference is starting to manifest itself in their more pragmatic approach to the restitution of disputed artefacts in their collections.

From:
Slate

Trading Places
Cultural property disputes are reshaping the art world—but how?
By Carol Kino
Posted Monday, July 28, 2003, at 12:25 PM PT

It’s a sad truth that the depredations of war and imperialism have sometimes had positive side effects for art history. Take the Metropolitan Museum’s recent “Manet-Velázquez” show, on the influence of 17th-century Spanish painting on 19th-century French art. For most of the 18th century, Spanish artists like Murillo, Zurbaran, and Velázquez were little known outside their homeland. Then in the early 1800s, hundreds of Spanish paintings arrived in Paris as Napoleonic war loot. Some were briefly shown at the Louvre before Napoleon’s defeat, after which they were returned. Later that century, French artists began adopting the Spanish artists’ realist aesthetic and loose, sensuous brushwork—a move that laid the foundations of Impressionism and radically changed the course of modern art.

Unlike many European museums, American museums were built with civic and capitalist muscle, rather than imperial might. Yet well into the 1970s their attitude toward acquisitions—as any expert will admit off the record—was frequently “don’t ask, don’t tell.” But today American courts are dealing with an unprecedented number of Holocaust reparation cases. And last year, the Justice Department successfully prosecuted a well-known New York dealer, Frederick Schultz, for conspiring to receive stolen Egyptian antiquities. As a result, some foreign collectors and museums have become more cautious about loaning work to museum shows—particularly those in America—and everyone has become vastly more diligent about conducting provenance research before buying.
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