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September 5, 2011

The Journal of Art Crime, Spring 2011: Noah Charney writes on "Mona Lisa Myths: Dispelling the Valfierno Con" in "Lessons from the History of Art Crime"

In the Spring 2011 issue of The Journal of Art Crime, editor-in-chief Noah Charney writes about "Mona Lisa Myths: Dispelling the Valfierno Con" in his regular column "Lessons from the History of Art Crime."

"The story in question regards a mythical character called Eduardo de Valfierno, an Argentine criminal alleged to have commissioned the theft of the Mona Lisa by Vincenzo Peruggia in 1911 in order to sell six forgeries of it to unsuspecting nouveau-riche criminal collectors," Mr. Charney writes. "The idea was that each of these 'collectors would believe that they had the stolen original, and they would be unable to advertise their acquisition of the Mona Lisa for the very fact it was stolen.

You may read more about this plan and its myth in the Spring 2011 issue of The Journal of Art Crime by subscribing through the ARCA website or by purchasing this issue at Amazon.com.

September 3, 2011

Saturday, September 03, 2011 - , No comments

Lynda Albertson Hired as New CEO of ARCA

Lynda Albertson
by Noah Charney, Founder and President of ARCA

We at ARCA are pleased to announce the hiring of a new CEO.

ARCA is an international non-profit research group on the study of art crime and cultural heritage protection. With seats in the United States and Italy, ARCA acts as a bridge between world art police, museums, security professionals, art lawyers, archaeologists, and scholars studying this field, with the collective goal of promoting art crime as a distinctive field of study. Featured in The New York Times, Vanity Fair, and other publications, ARCA is a small 501c3 which runs academic, research, and publication-based projects.

ARCA publishes a twice-yearly academic journal, The Journal of Art Crime, the first and only interdisciplinary journal in this field.

ARCA runs an annual Postgraduate Certificate Program in Art Crime and Cultural Heritage Studies, held in Umbria every summer. This program is the first and only in the world to offer students a chance to study art crime from both a theoretical and practical standpoint, with visiting professors teaching alongside world-renowned art police and security directors.

ARCA run lectures, workshops, and engages in media outreach to better inform the public and professionals alike about art crime. It also publishes books, including the edited volume, Art & Crime: Exploring the Dark Side of the Art World (Praeger 2009) and the recent The Thefts of the Mona Lisa: On Stealing the World's Most Famous Painting (ARCA Publications 2011).

For more information on ARCA, please visit www.artcrime.info.

The Trustees of ARCA are pleased to announce the appointment of a new CEO, Lynda Albertson.

Ms. Albertson has a particularly well-suited suite of qualifications that set her apart. She comes to us from the post of Director of Programming at the American Institute for Roman Culture, which is, like ARCA, a US-registered 501c3 non-profit that functions in Italy which hosts students living and studying abroad and which runs conferences, lectures, and publications. This combination of direct experience in running an American 501c3 organization in Italy, and also experience dealing with students living abroad in Italy, combined with her location in Rome, her excellent contacts in Italy, her comfort functioning in an Italian context, and her Italian language abilities, make her an ideal candidate.

We at ARCA look forward to a long and fruitful period with Ms. Albertson at the helm. Ms. Albertson may be contacted at director "at" artcrime.info

August 31, 2011

The Journal of Art Crime, Spring 2011: Donn Zaretsky's Art Law and Policy looks at the First Amendment Rights of Photographers

In his regular column for The Journal of Art Crime, art law specialist Donn Zaretsky looks at the First Amendment rights of photographers in the Spring 2011 issue.

Mr. Zaretsky, an attorney with the firm John Silberman Associates and publisher of the Art Law Blog, asks the question "Can a state declare an entire subject matter off limits to photographers?" He questions the constitutionality of a proposed law recently introduced in Florida that would restrict digital or video recording of images taken by photographers without the written consent of the owner. "Clearly, what the legislature wants to do here is the one thing they cannot do: criminalize the PETA-style undercover farm videos," Zaretsky writes. "They can strengthen their trespassing laws, if they wish. But they cannot restrict speech "because of its messages, its ideas, its subject matter, or its content."

The Journal of Art Crime, edited by ARCA founder and president Noah Charney, is the first peer-reviewed academic journal on the interdisciplinary study of art crime. You may subscription to the Journal through ARCA's website (where you can also read guidelines for submissions) or   purchase individual subscriptions through Amazon.com.

August 28, 2011

The Journal of Art Crime, Spring 2011: "The Skylight Caper: The Unsolved 1972 Theft of the Montreal Museum of Fine Arts"

Catherine Schofield Sezgin's article "The Skylight Caper: The Unsolved 1972 Theft of the Montreal Museum of Fine Arts" has been published in the fifth issue of The Journal of Art Crime (Spring 2011).

Rembrandt Stolen from MMFA in 1972
This article examines previously published articles on Canada's largest art theft, the 1972 unsolved theft of the Montreal Museum of Fine Arts, and compares the information with two principals involved with the museum and the investigation. It explores the ideas proposed in the last four decades as to who may have committed the theft and the alleged whereabouts of 39 pieces of jewelry and silver and the 17 missing paintings, including art by Rembrandt, Corot, Rubens and Courbet. This article describes the history of museum thefts in Canada, how the crime was committed, and some characteristics that may have made this museum and those paintings a target for theft.

Catherine Schofield Sezgin, a graduate from ARCA's Postgraduate Program in International Art Crime Studies in 2009, worked closely with Bill Bantey, retired journalist and director of public relations for the museum at the time of the theft, and Alain Lacoursière, retired Montreal police officer specializing in art crime.

You may read updates about the case on her blog, The Unsolved 1972 Theft of the Montreal Museum of Fine Arts.

The Journal of Art Crime is available via subscription through ARCA's website and from Amazon.com.

August 26, 2011

The Journal of Art Crime, Spring 2011: Ludo Block on "European Police Cooperation on Art Crime: A Comparative Overview

Retired Dutch police officer Ludo Block writes on "European Police Cooperation on Art Crime: A Comparative Overview" in the fifth issue of The Journal of Art Crime (Spring 2011). This is Mr. Block's abstract:
The academic literature in the field of cross-border policing tends to concentrate exclusively on the high-level crimes -- drug trafficking, terrorism, and human trafficking -- that are so often the focus of transnational police cooperation in criminal investigations. There are, however, many other types of transnational crime, including the often neglected art crime, which may represent the third most profitable criminal enterprise in the world, outranked only by drug and arms trafficking. Drawing on existing literature and interviews with practitioners, this study provides a comparative overview of the policing efforts on art crime in a number of European Union (EU) member states and examines the relevant policy initiatives of the Council of the EU, Europol, and the European Police College. It also addresses existing practices of and obstacles to police cooperation in the field of art crime in the EU. The study reveals that EU police cooperation in this field occurs among a relatively small group of specialists and that -- particularly given the general lack of political and public attention -- the personal dedication of these specialists is an indispensable driver in this cooperation.
Ludo Block is a senior investigator at Grant Thornton Forensic & Investigation Services in Rotterdam (The Netherlands). Previously he served over 17 years with the Netherlands' police and held senior positions in the Amsterdam police. Between 1999 and 2004 he was stationed in Moscow as the Netherlands' police liaison officer for the Russian Federation and surrounding countries. Ludo holds a Masters in Social Sciences from the Vrije Universiteit Amsterdam where he currently is finalizing his PhD (Public Administration) on European Police Cooperation.

You may purchase this issue through subscription through ARCA's website or through Amazon.com.

August 24, 2011

The Journal of Art Crime, Spring 2011: David W. J. Gill and Christos Tsirogiannis on "Polaroids from the Medici Dossier: Continued Sightings on the Market"

"Bonhams withdraws Roman sculptures with 'Medici link' from auction"
Polaroid from the Medici Dossier and Bonhams Copyright [for the composition] David Gill.

David W. J. Gill and Christos Tsirogiannis have written on "Polaroids from the Medici Dossier: Continued Sightings on the Market" for the fifth issue of The Journal of Art Crime (Spring 2011) which can be purchased through subscription through ARCA's website or individually through Amazon.com. This is the abstract for the article:
The series of returned antiquities to Italy have been a reminder of the role of Giacomo Medici in the movement of antiquities to North American public and private collections. A dossier of images was seized during a series of raids on premises in the Geneva Freeport linked to Medici. Such images have made it possible for the Italian authorities to make identifications with recently surfaced antiquities. In spite of the publicity some involved with the trade of antiquities continue to offer recently-surfaced objects that can be traced back to Medici and his consignments to the London market.
David Gill is Reader in Mediterranean Archaeology at Swansea University, Wales, UK. He is a former Rome Scholar at the British School at Rome and was a member of the Department of Antiquities at the Fitzwilliam Museum, University of Cambridge. He has published widely on archaeological ethics with Christopher Chippindale. He is currently completing a history of British archaeological work in Greece prior to the First World War.

Christos Tsirogiannis is a postgraduate research student at Hughes Hall, University of Cambridge. His PhD research, supervised by Christopher Chippindale and David Gill, is on the international implications of the Robin Symes-Christos Michaelides photographic archive. He has excavated in Attica, the Cyclades and on Ithaka. He was seconded by the Hellenic Ministry of Culture to the Ministry of Justice to research illicit antiquities. He was involved with the return of antiquities from the J. Paul Getty Museum to Greece.

August 23, 2011

Part One: An Interview with Sandy Nairne on his book, "Art Theft and the Case of the Stolen Turners"

Art Theft and the Case of the Stolen Turners
Sandy Nairne
Reaktion Press/ University of Chicago 2011

An Interview by Catherine Schofield Sezgin, ARCA Blog Editor-in-chief

An exceptional book on art theft has been published by a museum director who has received permission from his art institution to openly discuss the eight year quest to obtain the return of two stolen paintings. Sandy Nairne, now director of the National Portrait Gallery, has written "Art Theft and the Case of the Stolen Turners" and risked considerable criticism for his transparency. The ARCA blog will spend this week on a series of posts discussing the book in-depth.

In 1994, London's Tate Gallery loaned two paintings by J. M. W. Turner to a Frankfurt public gallery, the Schirn Kunsthalle to be included in an exhibition on "Goethe and the Visual Arts". The 1843 paintings, "Shade and Darkness - The Evening of the Deluge" and "Light and Colour (Goethe's Theory) - The Morning after the Deluge - Moses Writing the Book of Genesis", had been stolen on July 29 with a third painting, Caspar David Friedrich's "Waft of Mist" (1819, on loan from the Hamburg Kunsthalle).
Turner's "Shade and Darkness"

Mr. Nairne, the Tate's director of programs and a trusted associate of Nicholas Serota, the Director of the Tate, oversaw the expenditure of almost 3.5 million pounds to recover the insured paintings. Martin Bailey of The Art Newspaper provided an excellent synopsis of the events in his online article dated August 9, 2011 ("My life as an undercover negotiator").

Turner's "Light and Colour"
ARCA Blog: You have publicly discussed how the Tate negotiated the return of the two Turner paintings even though it has generated criticism about whether or not museums are encouraging art theft by paying money to recovery stolen art. The irony here, of course, according to Martin Bailey in The Art Newspaper, is that it was also a savvy financial deal -- the Tate received the insurance proceeds from the stolen paintings, repurchased the paintings from the insurance company at a lower amount, reinvested the money, and then recovered the paintings values of which have dramatically increased. The museum is more transparent than most about talking about art theft and you may be the first senior museum official to write about the long negotiations involved in recovering paintings. How did you come to break so many taboos? What would you say motivated you and the Tate to go to such lengths? What was it about these paintings that made them so important to the Tate's collection?
Sandy Nairne: These two paintings are part of what is known as the Turner Bequest, and had been selected by the artist as ones that should be specially valued by the nation. It felt like a clear duty for us at the Tate to do everything we could – as long as it was legal and approved by the right authorities – to get them back. 
The insurance payments worked out successfully after the paintings had been recovered, but that might not have happened. It is only possible, of course, with hindsight to see it as a success. 
In writing the book, I was not thinking of ‘breaking taboos’ but simply trying to set out the facts. The narrative from my perspective needed to set right quite a few things that had been mis-recorded in the newspapers in Britain. It became an additional matter to then analyse the wider questions around high value art theft.
ARCA Blog: Three thieves had remained in the gallery after closing time (this kind of theft is known as a 'stay-behind'); attacked and "held the guard, tied up, in a cleaning cupboard"; then used the guard's keys to unlock the back door and take the paintings (then worth 24 million Sterling pounds) out through the loading dock. You write:
This might have been fairly straightforward, but crucially, it was possible only with knowledge of the security system and the internal layout to execute the operation swiftly. While removing the paintings, the three men (two thieves and the waiting driver as it later emerged) would have been listening to the guard's radio, connected to Eufinger's headquarters [private security firm].
An alert was received at the security office 41 minutes after the city museum's front doors were locked. When you arrived in Frankfurt within hours of the theft, how puzzled were you and the rest of the security staff that only three paintings had been taken? Did you wonder why these three particular paintings had been chosen? And from the very beginning did you suspect that the paintings had been taken because the thieves knew they had been insured for the exhibit and that they had a possibility of receiving a ransom for the paintings return?

The Frankfurt police officer initially assigned to the case, Herr Bernd Paul, was a specialist in blackmail and ransom work and immediately began making inquiries in the "Frankfurt underworld" to find out who planned this. Herr Paul began his investigation with the idea that the pictures had been taken "hostage." Do you think this outlook from the beginning set up for a successful recovery of the art? At the same time, you were very concerned that everyone should understand that the paintings were irreplaceable and that not enough resources could be applied.
Sandy Nairne: I think the thieves may have been interrupted and that they had intended to take more than the three paintings. There was a very valuable Raphael painting nearby, though it was large and very heavy, while these three were relatively portable. I am not certain that these three were ‘targeted’ although later I did hear some talk of the police having recovered a list of works from one of the suspect thieves. 
I had no idea initially why the Turners had been stolen. It seemed that it could have been a political matter or a protest of some kind, as much as an act organised by gangsters of some kind. It was only later when I learned much more about art theft that I began to understand how dominant is the financial motive. 
Herr Paul’s reaction was logical, but there was never any ransom note from the thieves or those who had organised the theft. There was never any ghastly ‘pay or the paintings burn’ type of threat. Mostly it was other people trying to cash in on the theft. Criminality breeds criminality.
ARCA Blog: An image of one of the stolen paintings had been used to publicize the exhibition. This indicates that the thieves may have known nothing about the quality of the work and just took what they thought was important and valuable to the museum?
Sandy Nairne: This is possible – the poster may have been an additional point in the thieves mind as to which paintings they went for first.
ARCA Blog: You write that Mark Dalrymple, employed by the insurers to track the operation, is one of the most experienced of specialist loss adjusters in the insurance field. What do you think he did differently in handling this case that maybe someone with less training would have missed?
Sandy Nairne: Mark was always careful to remain very close to the police and ensure that they were informed appropriately, while also seeking independent information and contacts. There had to be trust on both sides. He is very experienced, and that experience counted a lot at the time, later on, when the Tate Trustees’ sub-committee was having to decide what was or was not appropriate by way of any ‘payment for information, leading to the recovery of the paintings’.
ARCA Blog: You alerted Scotland Yard's Art and Antiquities Squad three days after the theft when someone called the Tate looking for "someone in charge" about the stolen paintings. Detective Inspector Jill McTigue and then another senior officer, Dick Ellis, arrived with cameras and recording devices as they were being filmed for a documentary about the Art and Antiquities Squad for the BBC. You had two discussions with a man representing himself as the holder of the paintings which were now allegedly in London and would be 'auctioned' by the thieves unless he was paid 30,000 pounds for information leading to the pictures whereabouts. How nervous were you and how did you manage all of this commotion?
Sandy Nairne: I was very nervous, and it was confusing as I wanted this man ‘Rothstein’ to be real. But of course it emerged fairly soon that he was a confidence trickster only trying to make money by pretending that he had access to the stolen paintings. He was certainly very clever at spinning a yarn. I was relieved when he and his accomplice were both caught – but saddened that it took us no nearer to the actual paintings.
ARCA Blog: In addition, you were assigned an undercover plainclothes specialist to join you as your 'curator.' One of the first things done was to train him as how to pick up and examine a painting. At the beginning, you must have had hope that the paintings would be recovered shortly and not in eight years. Is your book in any way a cautionary tale for other museum staff? After all, you had a job and a family that needed your attention just as much as these paintings did.
Sandy Nairne: I hope it is not a cautionary tale, but encouraging to everyone that it is possible to get important works back into the public domain. I did not stop and analyse – in the sense of a broad view - what I was doing, as I was more concerned to make sure that I was doing it in the most effective way.
ARCA Blog: Your first contact was apprehended and arrested in a police operation that had pretended to pay a reward for the return of the paintings. The suspect and his accomplice did not have the paintings -- which the police had suspected - but a record in deception and petty crime. The entire first week of the investigation in London turned out to be a 'diversion'. However, a year later, on the anniversary of the suspect's arrest, you received a middle-of-the night phone call instructing you to meet in Moscow Square although this was not a part of any ongoing investigation. You cover all of this in the first 50 pages of your book. How did you manage to write your manuscript while working in a high-profile job?
Sandy Nairne: My writing was spread out over many years. I had kept notes and journals from when I was travelling to and from Frankfurt. It was only much later, in 2007, when I had a visiting Fellowship at the Clark Art Institute that I could really do most of the work to sort out the narrative and also do the reading on the existing literature relating to high value thefts of this kind. I have always done some writing very early in the morning, and used parts of weekends.
Additional posts will continue the discussion of "Art Theft and the Case of the Stolen Turners."

August 22, 2011

The Journal of Art Crime, Spring 2011: John Daab on "The Case of the Questionable Jeffersonian Lafites: Forensic Applications in Detecting Wine Fraud"

In the fifth issue of The Journal of Art Crime (Spring 2011), John Daab, a Certified Fraud Examiner specializing in art and forgery research, has written on "The Case of the Questionable Jeffersonian Lafites: Forensic Applications in Detecting Wine Fraud". Mr. Daab writes in the article’s abstract:
Keys noted that the earliest manufacture of wine took place around 8000 BC. Robinson (2006) said that Pliny the Elder remarked that wine adulteration had reached a point in 1st century Rome that wine was no longer worth drinking. Although the tinkering with the grape has been with us since early Rome, wine fraud cases have seen an upsurge due to increases in demand not only for wine for the family table wine, but for historic collectibles found in the cellars of the wine connoisseur (Robinson, 2006). Wine fakers cost consumers, suppliers, and collectible connoisseurs millions of dollars a year. They use humidification; blending and stretching; substitution of low quality for expensive quality; and many other forms of fakery. This fakery is not only costly to the consumer but has led to cases of serious injury and death (Henry, 1986). This article addresses the fakes, how they are processed, and forensic applications used to detect and indentify the bogus mix.
Dr. John Daab is a Certified Fraud Examiner specializing in art and forgery research with Association of Certified Fraud Examiners and a Certified Forensics Consultant, Accredited Forensic Counselor and a Registered Investigator with the American College of Forensic Examiners International. John holds Diplomate status (DABFE) with the American Board of Forensic Examiners and holds Certified Homeland Security I (CHS-1) and Certified Intelligence Analyst (IAC) member status with the American Board of Certification in Homeland Security.

An academic with various undergraduate and graduate degrees from philosophy to business with a focus on art authentication, John is a sculptor who works can be seen on the Fine Art Registry (his works can be seen in his FAR online portfolio). He has published more than 100 articles and recently authored, "The Art Fraud Protection Handbook" (Kindle Edition). He has a credential from New York University in Fine and Decorative Arts Appraisal. He completed the docent program at Princeton. His second book is "Forensic Application in Detecting Fine, Decorative, and Collectible Art Fakes" (Kindle Edition). He is developing a third book on the "Business of Art."

August 21, 2011

"The thefts of the Mona Lisa: On Stealing the World's Most Famous Painting" by Noah Charney

One the 100th anniversary of the theft of Leonardo da Vinci's Mona Lisa from the Louvre, ARCA and Noah Charney have published a new book, "The thefts of the Mona Lisa: on stealing the world's most famous painting". You may find more information about the theft and the book on ARTCOM.info "100th Anniversary of the Mona Lisa Theft" and in a piece written by Noah in The Los Angeles Times.

Update: Marking the 50th anniversary of the theft of Goya's "The Duke of Wellington", you may find Noah Charney's article on the front page of ARTINFO.com here.  Mark Durney, author of the blog Art Theft Central, provides a historical review of thefts from the Louvre, some of which you may not have heard about!

August 20, 2011

Anthony Amore, co-Author of "Stealing Rembrandts", on interviewing art thieves and whether or not James "Whitey" Bulger knows the whereabouts of the paintings stolen from the Isabella Stewart Gardener Museum in 1990

by Catherine Schofield Sezgin, ARCA Blog Editor-in-chief

Anthony Amore, head of security of the Isabella Stewart Gardner Museum, is one the Board of Trustees of the Association for Research into Crimes against Art and taught a course in Museum Security for the ARCA program in International Art Crime Studies in 2009. He co-authored "Stealing Rembrandts" with Tom Mashberg, an award-winning investigative reporter and the former Sunday Editor for the Boston Herald.

Thirteen works of art, including three Rembrandts, were stolen from the Isabella Stewart Gardner Museum in Boston on March 18, 1990. Both Amore and Mashberg spent years studying all aspects of the world's largest unsolved art theft.

Anthony writes in his foreword to the book:
 "One of the more intriguing characteristics of the Gardner heist is that two of the stolen paintings, "The Storm on the Sea of Galilee" (1633) and "A Lady and Gentleman in Black" (1633), both by Rembrandt, were cut from their frames."
Amore puts forth the question as to why the two thieves, who spent a leisurely 81 minutes in the museum, risked damaging the paintings by slicing the two Rembrandt canvases from their stretchers:
"Were they so unschooled as to imagine they could manhandle the canvases without wreaking destruction on the paintings? That alone is a key insight into the culprits. Thieves schooled in art would have done no such thing. Moreover, the robbers anticipated that they were going to cut some paintings from their frames. Why else would they have brought along an instrument that was sharp and sturdy enough to slice through stiff, varnished paint and linen canvas? Two other major art thefts in Massachusetts (both involving Rembrandts, as the following chapters will show) were pulled off more than 15 years before the Gardner crime without anyone resorting to cutting canvases. Why do so now? Had these thieves learned their lessons in theft outside Massachusetts? Was this their first art crime?"
Anthony Amore's obsession with studying the ISGM theft and finding the paintings led him and co-author Mashberg to write about comparable thefts in this 245-page manuscript just perfect for summer reading in the hammock, on the beach, or in an airport. The language is accessible and the narrative strong, even when describing when and why Rembrandt Harmenszoon van Rijn (1606-1669) painted the artworks that are the subject of these thefts. The authors answer the question as to why anyone would care that these paintings have been stolen, remain missing, or how they were recovered.

ARCA Blog: The book tells of a heist at the Worcester Art Museum in Massachusetts in 1972, orchestrated by Florian "Al" Monday, a man now in his seventies who was involved in art theft more than four decades ago.  Anthony, how did you contact Florian "Al" Monday and what was your experience interviewing him? Does he speculate about the whereabouts of the ISGM paintings?
Anthony Amore: I reached out to Al years ago to have a conversation about art theft. He still lives in Massachusetts and we know many of the same people so it was an interesting conversation. Al has been on the hunt for the stolen Gardner art for many years and can speak more knowledgably about the crime figures who do not have the art than he can about who does. Despite his criminal history and proclivity towards taking paintings that don’t belong to him, we’re friends and I quite enjoy talking to him.
ARCA Blog: Myles J. Connor Jr., an art thief, has authored a book about his adventures, including the theft of a Rembrandt painting on loan to the Museum of Fine Arts in Boston. What characteristics do you think Connor and Monday share as art thieves?
Anthony Amore: Myles and Al share a unique characteristic that sets them apart from virtually all other art thieves, and that is that both of them appreciate fine art and are knowledgeable on the subject. While this sounds admirable, in many respects it makes their crimes all the more worse, since they have a better understanding of the cost to society than a common criminal. And make no mistake: though they art aficionados, they stole art strictly for profit, not to enjoy it.
ARCA Blog: Carl Earnest Horsley agreed to speak with you about a 1973 theft in Cincinnati. He was under surveillance when he collected the ransom and left two stolen art works. Anthony, why do you think he finally agreed to speak about his role in the theft? What do you think he had in common with Monday and Connor?
Anthony Amore: I believe that Carl saw an opportunity to get his story out but also to let the world know that he has turned his life around and is now a legitimate businessman. I see Carl as an exception to the rule that people never change. He seems to have made an earnest attempt to go straight.
ARCA Blog: After looking at all these thefts, do you feel any closer to creating a profile of the thieves who robbed the Isabella Stewart Gardner Museum in 1990?
Amore: Absolutely. I’ve felt that I have a clear picture of the sort of criminal who pulled off the Gardner heist.
ARCA Blog: Recently you were interviewed by John Wilson for BBC's "Front Row." On his blog, he speculates about the arrest of James "Whitey" Bulger and whether or not Boston's former crime boss has knowledge of the whereabouts of the paintings. Do you share Charley Hill's opinion (according to John Wilson) that the paintings have been in Ireland with some faction of the IRA?
Anthony Amore: I have the utmost respect for Charley Hill. His career is amazing, and, aside from being a wonderful guy, he is among the greatest art recovery agents in history. However (and Charley knows I feel this way), I do not share his belief regarding the IRA. I share the opinion of the Assistant US Attorney Brian Kelly that Bulger was not involved in the theft and has no information about it to share. We’re fortunate at the Gardner to have AUSA Kelly as the lead prosecutor for our case, as he is also the lead prosecutor in the Bulger case. He has put away all of Bulger’s cohorts, all of whom admitted to dozens of murders and other heinous crimes and have described all of Bulger’s exploits for juries and book readers alike. One would have to suspend an enormous amount of disbelief to think they wouldn’t admit to even the slightest knowledge about the Gardner theft. Add that to the fact that there’s not even the slightest bit of evidence pointing to an Irish connection, and I put that possibility very low on the list of likelihoods. Of course, all that being said, the paintings are still missing, so we cannot rule anything out. And if a person from Ireland shows up at our door with the art this afternoon, I’ll be very glad to admit that I was wrong!