FBI composite of paintings stolen from ISGM in 1990

On the 23rd anniversary of the largest art theft, an FBI press release announced: "FBI Provides New Information Regarding the 1990 Isabella Stewart Gardner Theft".

The FBI believes it has determined where the stolen art was transported in the years after the theft and that it knows the identity of the thieves, Richard DesLauriers, special agent in charge of the FBI’s Boston office, revealed for the first time in the 23-year investigation. “The FBI believes with a high degree of confidence that in the years after the theft, the art was transported to Connecticut and the Philadelphia region, and some of the art was taken to Philadelphia, where it was offered for sale by those responsible for the theft.” DesLauriers added, “With that same confidence, we have identified the thieves, who are members of a criminal organization with a base in the Mid-Atlantic states and New England.” After the attempted sale, which took place approximately a decade ago, the FBI’s knowledge of the art’s whereabouts is limited. 

Information is being sought from those who possess or know the whereabouts of the 13 stolen works of art—including rare paintings by Rembrandt and Vermeer—by publicizing new details about the case and continuing to highlight the $5 million reward for the return of the art. Although the FBI does not know where the art is currently located, the FBI is continuing its search, both in and beyond the Connecticut and Philadelphia areas. “With this announcement, we want to widen the ‘aperture of awareness’ of this crime to the reach the American public and others around the world,” said DesLauriers. 

Anthony Amore, the museum’s chief of security, noted that the reward is for “information that leads directly to the recovery of all of our items in good condition.” He further explained, “You don’t have to hand us the paintings to be eligible for the reward. We hope that through this media campaign, people will see how earnest we are in our attempts to pay this reward and make our institution whole. We simply want to recover our paintings and move forward. Today marks 23 years since the robbery. It’s time for these paintings to come home.” 

“The investigation into the Gardner Museum theft has been an active and aggressive effort, with law enforcement following leads and tracking down potential sources of information around the globe. Over the past three years, I have visited the museum several times, and each time I entered the Dutch Room and saw the empty frames, I was reminded of the enormous impact of this theft. I do remain optimistic that one day soon the paintings will be returned to their rightful place in the Fenway, as Mrs. Gardner intended,” said U.S. Attorney Carmen M. Ortiz. “As we have said in the past, the U.S. Attorney’s Office will consider the possibility of immunity from criminal prosecution for information that leads to the return of the paintings based on the set of facts and circumstances brought to our attention. Our primary goal is, and always has been, to have the paintings returned.” 

To recover stolen items and prosecute art and cultural property crime, the FBI has a specialized Art Crime Team of 14 special agents supported by special trial attorneys. The team investigates theft, fraud, looting, and trafficking across state and international lines, with estimated losses running as high as $6 billion annually. The FBI also runs the National Stolen Art File, a computerized index of stolen art and cultural properties that is used as a reference by law enforcement agencies worldwide. 

The FBI stressed that anyone with information about the artwork may contact the FBI at 1-800-CALL-FBI (1-800-225-5324) or the museum directly or through a third party, said Special Agent Geoffrey Kelly, who is the lead investigator in the case and a member of the Art Crime Team. “In the past, people who realize they are in possession of stolen art have returned the art in a variety of ways, including through third parties, attorneys, and anonymously leaving items in churches or at police stations.” Tips may also be submitted online at https://tips.fbi.gov. 

The publicity campaign announced today includes a dedicated FBI webpage on the Gardner Museum theft, video postings on FBI social media sites, publicity on digital billboards in Philadelphia region, and a podcast. To view and listen to these items, visit the FBI’s new webpage about the theft: www.FBI.gov/gardner.

Pablo Picasso at 90 Photographed by Ara Güler  in the South of France in 1972

The right to authenticate Picasso's work, however, is considered an inherited moral right, or droit moral. Only individual heirs have this right. When Claude exercises his droit moral to authenticate works by his father, he does so as an individual heir (as does Maya), not in his capacity as the estate administrator. Under French law, an artist's descendants are presumed to have an innate understanding of - or at least a privileged firsthand familiarity with -- the art created by their progenitor, and are thus entitled to issue certificates of authenticity.

Harlequin Head by Pablo Picasso

Three Romanian men suspected of carrying out the heist were arrested Jan. 22 in Bucharest and remain in custody there. A 19-year-old Romanian woman was arrested in Rotterdam on March 4 on suspicion of assisting the thieves.

Police believe the works were brought shortly after the theft to a home in Rotterdam where the young woman was staying and removed from their frames.

The Novi Sad City Museum welcomes home "The old man with the fur cap"

In just 15 minutes, they tied up an unarmed night watchman and a museum guide and, standing on antique furniture, lifted the paintings off the walls. One of the four works taken in the January theft was attributed to Rubens, another to Rembrandt.

Unknown Flemish painter,  Life Head of Christ, oil on panel

Rubens's studio, the first half of the 17th century,  bust of Seneca oil on board

Pier Francesco Mola (1612-1666) Night landscape with fishermen, oil on canvas

Cremers  has published numerous articles in international magazines, and was the codeveloper of a self-audit software tool with which museums are able to investigate their security and safety. Thus far Cremers is the first non-American to have received the prestigious Burke Award for the protection of cultural property.  His publication about emergency management in museums is a standard in the Dutch language world. At the moment Cremers is working on a new initiative to build a museum in Athens, Greece and is active in 17 museums on six islands in the Dutch Caribbean, teaching and training museum workers.

He has published widely on archaeological ethics, often with Dr Christopher Chippindale (University of Cambridge). Their research has promoted the material and intellectual consequences of looting. Gill has provided a commentary on the impact of such activity through his research blog, “Looting Matters”. This research has formed part of the effort to restore antiquities to Italy and Greece in the wake of the “Medici Conspiracy”.

He has studied more than 2,500 works of art and historic buildings, ranging from Leonardo Da Vinci's "Last Supper” and Botticelli's "Allegory of Spring", to Caravaggio’s “Medusa”. Founder and Scientific Director of EDITECH (Electronics, Diagnostics and Technology) in 1977, the first center for authenticating works of art in Italy.

Blanca Niño Nortonhas participated in workshops in Italy with the Carabinieri, and lectured in Argentina, Roma, Paraguay, El Salvador, Honduras, Mexico, Costa Rica, Cuba, Dominican Republic, and Colombia. With the Carabinieri TPC especially with Dr Pastore, Blanca Niño Norton was able to do important training in Guatemala. Through this collaboration with the Carabineri TPC they conducted 4 courses for more than 80 people, each with the support of the Ministry of Foreign Affairs of Italy and Ministero per i Bieni Culturale. 

Duncan Chappell’s publications include two coedited texts: Crime in the Art and Antiquities World. Illegal Trafficking in Cultural Property (2011) Springer: New York (With Stefano Manacorda) and Contemporary Perspectives on the Detection, Investigation and Prosecution of Art Crime (In Press) Ashgate: London (With Saskia Hufnagel). He has also had published a number of journal articles and book chapters on various aspects of art crime including fraud and fakery in the Australian Indigenous art market; the impact of corruption in the illicit trade in cultural property; and the linkages between art crime and organized crime.

In addition to his research and writing on art crime Duncan Chappell has acted as an expert in regard to court proceedings involving art crime and also been a strong supporter of  measures to enhance public awareness of the evils of looting behaviour and to strengthen the engagement of law enforcement agencies in investigation and prosecuting those responsible. In his present capacity as Chair of the International Advisory Board of the Australian Research Council Center of Excellence in Policing and Security, he has sought to foster a far more proactive approach to the prevention and detection of art crime both in Australia and its neighbouring countries within the South East Asian region.

Under Mr. Esterow's direction, ARTnews became the first magazine to consistently apply rigorous standards of investigative reporting to the art world.  Mr. Esterow received a special award for lifetime achievement from the College Art Association, the national organization of educators, artists, art historians, curators, critics, and institutions in 2003. He was cited for “his exceptional contributions to art journalism and investigative art reporting” and for having “overseen the magazine’s financial success while enhancing its reputation and influence in the visual-arts community and beyond.”

In Italy and abroad, he has covered the “Six Day War” (1967) and the war in Lebanon (1982); the death of Mitterrand and the election of Chirac; the murder of Rabin; the voyages of Pertini, Cossiga and Scalfaro, the ascension of eight italian governments and two Popes; the trials of Piazza Fontana, the Lockheed scandal, the Ardeatine massacre and the “Mani Pulite” political corruption scandal of the 1990s in Italy.  Since 1980, he has been dedicated to writing about cultural heritage protection, with an emphasis on historic preservation not only in Italy, but worldwide.

Lyndel Prott AO (1991), Öst. EKWuK(i) (2000), Hon FAHA; LL.D. (honoris causa) B.A. LL.B. (University of Sydney), Licence Spéciale en Droit international (ULB Brussels),  Dr. Juris (Tübingen) and member of Gray’s Inn, London, is former Director of UNESCO’s Division of cultural Heritage and former Professor of Cultural Heritage Law at the University of Sydney. She has had a distinguished career in teaching, research and practice, including co-operation with COM and INTERPOL to improve co-ordination between civil and criminal law to deal with illicit traffic.

At UNESCO 1990-2002 she was responsible for the administration of UNESCO’s Conventions and standard-setting Recommendations on the protection of cultural heritage and also for the negotiations on the 1999 Protocol to the Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict 1954 and the Convention on the Protection of the Underwater Cultural Heritage 2001.  She contributed as Observer for UNESCO to the negotiations for the UNIDROIT Convention on Stolen or Illegally Exported Cultural Objects 1995. She has authored, co-authored or edited over 280 books, reports or articles, written in English, French or German and translated into 9 other languages.

Ton Cremers has been active in over 450 museums etc., in several European and African countries, such as Zimbabwe where he audited the security and safety of all national museums, national archives, and national galleries. Mr. Cremers  has published numerous articles in international magazines, and was the co-developer of a self-audit software tool with which museums are able to investigate their security and safety. Thus far Cremers is the first non-American to have received the prestigious Burke Award for the protection of cultural property.  His publication about emergency management in museums is a standard in the Dutch language world. At the moment Cremers is working on a new initiative to build a museum in Athens, Greece and is active in 17 museums on six islands in the Dutch Caribbean, teaching and training museum workers.

AUSA Levin pioneered the use of federal forfeiture laws to recover and return stolen art and cultural heritage property. The SDNY Asset Forfeiture Unit has initiated dozens of proceedings under the forfeiture laws -- seizing and returning artwork and cultural property to the persons and nations who rightfully own them.  Notable examples include the forfeiture and repatriation of stolen paintings by Lavinia Fontana, Jean Michel Basquiat, Roy Lichtenstein, Serge Poliakoff, Anton Graff and Winslow Homer; drawings by Rembrandt and Duhrer; an Etruscan bronze statute dated circa 490 B.C.; an antique gold platter dated circa 450 B.C.; a rare Mexican manuscript; a medieval carved wood panel which was originally inside the historic Great Mosque in Dvrigi; an Ancient Hebrew Bible owned by the Jewish Community of Vienna and stolen during the Holocaust and most recently, a Tyrannosaurus Bataar skeleton looted from the Gobi desert in Mongolia.

As her early career progressed Blanca Niño Norton became the Vice President of the International Committee of CIAV within ICOMOS and worked on the international charter for its preservation.   During the early eighties she served to create ICOMOS Guatemala.

Blanca Niño Norton became motivated in this field having attended a private party once in Northern Italy where the owner of the house was proud of the stolen part of a column he had in his living room. It was a Guatemalan piece and she felt as if the object was stolen directly from her. Strongly motivated Blanca Niño Norton started working against illicit traffic of cultural property in 2000 and received a grant from the Getty Conservation Institute as a guest scholar. Since then she has also participated in the creation of the office of International Cooperation in the Ministry of Culture in Guatemala and created the office Against Illicit Traffic with the direct support of the Guatemala ministry.  This office was established to enhance communication at the ministry between Guatemalan Customs, the FBI, ICE, the Carabinieri TPC, and Scotland Yard.  In this capacity, she served as principle advisor for the Guatemalan Minister of Culture. In furtherance of that Blanca Niño Norton participated at the international meeting of UNESCO in Cambodia on the convention against illicit traffic of cultural property.  During this time Guatemala signed agreements with UNIDROIT, and the second protocol of Haya; becoming the first country in the region to have signed all of the international cooperation agreements.

Among many cases, he considers most memorable the raids at the summer residence of Dr. Marion True (former curator of antiquities at the Getty Museum) and at the premises of the top illicit antiquities dealers in the world, Robin Symes-Christos Michaelides, in the Cyclades, where the famous archive was discovered.  Over the last five years (2007-present), Tsirogiannis has been identifying looted and ‘toxic’ antiquities at the most prominent auction houses (e.g., Christie’s, Sotheby’s and Bonhams) and galleries (e.g., “Royal-Athena Galleries”), as part of a project with the renowned academics Professor David Gill (University Campus Suffolk) and Dr Christopher Chippindale (University of Cambridge). Some of the results of his research have been already demonstrated in The Journal of Art Crime (“Polaroids from the Medici Dossier: Continued Sightings on the Market”, 2011:27-33, with Professor David Gill). This part of his research has contributed to the withdrawal of antiquities (e.g., Bonhams case, April 2010) and to the disclosure of many scandals in the field (e.g., Christie’s June 2010, April 2011, December 2011). Tsirogiannis’ primary aim is to notify governments to retrieve their stolen cultural property and to raise public awareness regarding antiquities trafficking, through media coverage of these cases.