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March 24, 2009

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Yale Stolen Paintings Recovered

Three stolen works of art were recovered, along with nearly 40 other stolen paintings, firearms, heroin, marijuana, and cash, in a New Haven home. The three artworks, two paintings and a drawing, had recently been stolen from Yale University's Slifka Center, taken on two different days from an exhibition inside. The recovery is important both to highlight the nature of most art crimes worldwide (which involve lesser-known works of art than the headline-grabbing heists most people expect), and the link between art crime and the drug and arms trades. Even with a relatively small-time crook, such as the local New Haven heroin dealer who had stolen art, guns, and drugs in his home, the connection between art theft and "more serious" crimes is evident. 

March 20, 2009

Friday, March 20, 2009 - No comments

Headlines Memo

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Book Review: The Forger's Spell by Edward Dolnick

Edward Dolnick's The Forger's Spell is an impeccably researched and entertaining account of the "most successful art forger of the twentieth century (xiii)." In depicting the forgery career of Han Van Meegeren, the book covers a variety of topics from the Dutch experience during World War II and the art collecting practices of Hitler and Goering to the role of connoisseurs and wealthy collectors in the art market. In this respect, Dolnick's work serves as a reference guide for those interested in pursuing further research down the many avenues of art crime.

Although his work is by no means groundbreaking, it does highlight the critical conditions necessary for the "natural disaster" that resulted in the forger's being able to capitalize on the art establishment's foolhardiness (292). Here we find that the forger's skill in selling a fake product rests as much on his ability to paint as on his identification of the perfect mark. We read how Van Meegeren's marketing of each forgery induced a first impression in experts that instantly removed any doubts in authenticity and therefore any need for scientific testing as well.

Unfortunately, at times The Forger's Spell is as verbose and repetitive as any Victorian novel. It only overcomes these soporific effects when detailing the clever processes through which Van Meegeren produced his infamous Vermeer's. Never would I have thought that mixing Bakelite with lapis lazuli would yield a blue similar to the one made famous by Vermeer's brushwork. Additionally, I would have never have known that for the thirty six paintings attributed to Vermeer there have been nearly as many misattributed to him by art experts. As Dolnick discusses, these misidentified paintings have caused the ruination of countless careers and reputations.

Dolnick's intention is not to expose the fallibility of these so-called art experts and historians, but rather to simplify how we experience art by removing any prejudices and by viewing objects with a blank slate. In the words of former Met director Thomas Hoving, the idea is to "be dumb let it [the art] do the talking (242)." In this regard, The Forger's Spell succeeds because it inspires one to appreciate "art for art's sake" and to judge art for his/herself.

March 15, 2009

ARCA Trustee Anthony Amore in the New York Times

ARCA Trustee Anthony Amore, Security Director of the Isabella Stewart Gardner Museum, just appeared in a New York Times feature article. You can see Mr Amore in action in an upcoming episode of "America's Most Wanted" which will feature the unsolved Gardner theft. We salute Mr Amore and his outstanding efforts, both as a security director and in his investigation of the Gardner theft. An extensive interview with Mr Amore will appear in the upcoming book, Art & Crime, the first book published under the auspices of ARCA (published by Praeger this coming June 30). Friend of ARCA Ulrich Boser appears in the same article. An interview with Mr Boser appears in this blog. Mr Amore and Mr Boser appeared along with ARCA Director Noah Charney on a National Public Radio broadcast about the Gardner theft, which may be accessed below. We salute our colleagues, and will include further updates on the Gardner case as they become available.

Radio Boston's Gardner Theft Coverage

March 14, 2009

Steal the World

(The following is an english translation of an article that appeared in the Spanish national newspaper ABC in 2008)

A razorblade left on a library floor.

That was the slip-up that led to his arrest. Over 8 years, he had sliced out at least one-hundred rare maps from the world’s greatest libraries.

But this is not the tale of Cesar Gomez Rivero, the thief of Spain’s National Library maps. Nor is it the story of Ben Johnson, the student intern who stole and mutilated scores of important historical letters while working at Yale’s Beinecke Library. This is the story of the American Edward Forbes Smiley III, convicted in May of 2007. He, along with Gomez Rivero and Johnson, are just a few thieves among thousands worldwide who profit from the theft of rare maps, books, and manuscripts.

Map theft is frighteningly commonplace. But discreet statistics are rarely if ever kept by police, so the exact number of book, manuscript, and map thefts per year in various countries is unclear. In the US alone, there are certainly the thousands per year. It is safe to say that there are tens of thousands each year worldwide, the map thefts alone worth tens of millions of euros. The Gomez Rivero case made international headlines, and shook Spain’s infrastructure to the point of politicians and cultural ministers resigning in disgrace, for their failure to protect the treasures in Spain’s National Library. For much of the world, the exposure of Gomez Rivero was a shock—how could this criminal mastermind steal such valuable works from a prominent national institution. But for those in the know, the greatest surprise around the Gomez Rivero case is not that someone was stealing from a national library, but that someone was actually caught.

Gomez Rivero, who admited to the theft of nineteen maps, eleven of which have been recovered, is a small-time crook, compared to a master thief like Smiley. Mr Smiley used Xacto knife blades and wet string to silently dismember rare maps all over the world. He altered the edges to hide his cuts and bleached out ownership stamps, before selling the maps to international collectors and dealers. Among the libraries he victimized are the New York Public Library (eleven maps stolen), the Boston Public Library (thirty-four stolen), Yale University Library (twenty), Harvard University Library (eight), the Newberry Library in Chicago (two), and the British Library (one). And how many stolen works are still out there, which he has not admitted to? The Boston Public Library alone reported thirty-three more maps discovered missing from books which Smiley had consulted in their archives.

The libraries of Yale University have been frequently victimized, and provide a microcosmic example indicative of the huge global problem. In 1973 a pair of priests were charged with the theft of rare books from Yale and other university libraries around the United States. They would conceal rare books under their priestly vestments. The FBI raided their headquarters at the Saint Stephen’s Monastery in Queens, New York, and found hundreds of stolen books. In 1979 Andrew Antippas, a visiting professor from Tulane University, pleaded guilty to having stolen five rare maps from one of Yale’s libraries. In 1981 an antique microscope, built in 1734 and valued at $10,000 (€7000), was stolen from Yale, only to be recovered in a trash can. In 1997, a man called John Ray stole a valuable 19th century art book. And in 2001, 21-year-old summer intern Ben Johnson stole fifty items valued over $2 million (€1.2 million) from Yale’s rare books library, the Beinecke. Keep in mind that these instances are from Yale libraries only, and are only those which were discovered. Certainly countless more have occurred that have not been detected, at Yale, in Madrid, and at libraries worldwide. As Spain’s Foreign Ministry admitted, at least 300 “highly valued” objects have disappeared from the National Library in recent years. A Ministry spokesman said that “already back in 1859 the odd disappearance of a book has been noticed” and yet security remained lax.

Map theft carves a fascinating niche in the history of art crime. Professor Travis McDade of University of Illinois Law School is perhaps the world’s leading expert in rare book and manuscript crime. In a recent conversation with the author, he described what makes map collecting, and the thefts that supply its demand, distinct from other types of art crime. Unlike fine art, which is most often unique, instantly recognizable and traceable, illicit rare maps may be sold at a legitimate level. Gomez Rivero sold some through eBay, for instance. The greatest difficulty in most art crime is not in the stealing but in the selling. Maps, most of which are printed on paper, are far easier to carry, to smuggle, and to sell. McDade puts much of the blame for the ease of sale on over-zealous dealers. “Map dealers are allowed to plead ignorance, saying that they thought the stolen map they bought was a rare opportunity, a fantastic buy. Doesn’t it seem to you that if the owner of an art gallery was approached by some man who just happened to have a Velazquez available, that the art gallery owner should be very suspicious? Some in the map dealer community have been less than assiduous in patrolling their own borders.”

Map collecting has its own qualities, distinct from art or book collecting. Unlike rare books, maps have a display appeal. But unlike most art, maps do not require specialized knowledge to discuss. Much of the pleasure of collecting is not only in the conspicuous display, but in a conspicuous didacticism. To own an object of high value about which you can point out details which are invisible to first-time viewers shows off one’s worldliness. Map collecting appeals to the wealthy dilleton who wants to appear knowledgeable, but does not necessarily have the background training.

Professor McDade explains. “Maybe [the collector] notices that, in an African map, a particular cove in Madagascar wasn’t surveyed, or in another map a particular island in the West Indies was neglected. This is something he can point out to his guests, and he’s likely to be the only person to have noticed it. Often little or nothing has been written about collected maps, so the owner may be the foremost expert on that interesting and unique item on his wall. Never underestimate the need for serious people to have themselves considered smart.”

Map theft is all too easy for several reasons. Compared to art, maps, books, and manuscripts tend to receive little or no protection. Maps tend to be housed in libraries, archives, or offices where researchers are inherently trusted. As McDade warns, “thieves posing as researchers are given some sort of solitary access to items and, even if he only has five to ten seconds, if he knows what he’s doing he can easily cut the map from its housing.” Cameras are easily blocked by the body, and there is little chance that a researcher is being monitored throughout his visit. Maps are works on paper, and are therefore easy to transport, hide, and smuggle. And finally, most maps are not catalogued at an item level, only in their overall binding. “For instance,” McDade describes, “if a library has a 1667 Blaeu Atlas with 100 maps in it, most libraries only catalogue the atlas and not each individual map within it.” So the removal of one page from a book can go undetected for years. “Even if a library has catalogued each map within a book, they likely won’t check each of the maps very often. Discovery will only happen when another person happens to be interested in the same map.”

Just as Spaniards should not think that map theft is a rare occurrence and has happened only to them, they should take some cold comfort in knowing that poor library security is an international handicap. McDade concludes, “the library thefts in Madrid, far from being unique, actually follow a standard practice. A researcher is given access to these things, he knows exactly how to avoid the meager security, he knows exactly what he wants, and no one is ever the wiser.” The surprise is not in the National Library thefts having occurred at all, but that someone was careless enough to have been caught.

The importance of studying the history of art crime is the ability to learn from past mistakes and take measures to prevent it in the future. Edward Forbes Smiley III, Ben Johnson, and Cesar Gomez Rivero offer us many lessons in how to protect maps in our libraries. Researchers, even those known to librarians, should be treated with polite suspicion. Glass-topped work tables should be used so that nothing can be concealed beneath them. Work spaces should be open on the sides, not hemmed in by privacy walls. Video cameras should record steadily the workspace for researchers. Digital images should be catalogued of all maps in a library’s collection, to facilitate identification and tracing. Books should be flipped through at regular intervals, to insure that all of the valuable pages are in place. Staff should occasionally sit with researchers while they work. Rare items should never mix with items from the library’s general collections, to prevent concealment or swapping. Laptops and bags must be opened on entry and departure, always. To defend against insider thefts, better screening of employees is needed, including regular evaluations, monitoring, and exit interviews upon the termination of employment.

There are hundreds of Smileys and Johnsons and Gomez Riveros still out there, plundering one of the least protected of the world’s treasure troves. But we can learn from past thieves how to defend against those in the future.

(For more about ARCA's activities in the field of library and archive security, please see the international conference held at the National Library of Spain and sponsored by AXA last November...After its great success, ARCA is preparing a US conference on the same subject: http://www.axa.es/fundacionaxa/actividades015.html and http://www.bne.es/esp/actividades/jornadaseguridad.htm)

March 12, 2009

ARCA Announcements UPDATED

ARCA 2009 Award Winners
ARCA is pleased to announce the winners of its new annual awards. Each year ARCA will award individuals for their outstanding efforts for the protection and recovery of cultural heritage, and the study of art crime. Awards are voted on by ARCA’s Trustees and the Editorial Board for The Journal of Art Crime
The winners of the 2009 ARCA Awards are as follows:

Art Policing & Recovery: Vernon Rapley, Scotland Yard 
Art Security & Protection: Francesco Rutelli, former Italian Minister of Culture 
Art Crime Scholarship: Norman Palmer, King’s College London 
Lifetime Achievement in Defense of Art: Giovanni Nistri, Head of the Carabinieri Division for the Protection of Cultural Heritage 

ARCA honors these individuals for their exemplary work.

Summer Internship in Italy, 2009
ARCA offers a summer internship on location in Amelia, Italy (between Rome and Orvieto) during the Postgraduate Program that we run, from June 1-August 26. Applicants must be proficient in Italian. The work schedule is 25-30 hours per week. Duties include administration, research for our various projects, and aiding students, faculty, and the Dean during the program. Housing in Amelia for the summer and a meal allowance will be provided by ARCA. This presents an excellent opportunity for professional work training in the broad and interdisciplinary field of cultural property protection and work against art crime, while spending a lovely summer in Italy. If you are interested, please thoroughly acquaint yourself with the information about our Program on our website, and contact noah.charney@yale.edu .


ARCA Annual Conference
THE STUDY OF ART CRIME
11-12 July 2009
Amelia, Italy

The focus of this international conference is the academic and professional study of art crime, and how the study of it can help contemporary law enforcement and art protection. ARCA seeks to encourage scholars and students worldwide to turn their attentions to the understudied field of art crime and cultural property protection. The more minds working in the field, and the better the relationship between scholars and professionals (from police to security to the art world), the better protected art will be in the future.

ARCA welcomes submissions of papers for presentation at the conference. Papers should be 20 minutes in length, and should be related to the academic study of art crime or the collaboration between scholars and professionals for the prevention of art crime.

ARCA Members may attend the conference free of charge. A small attendance fee, in the form of a tax-deductible donation to ARCA, is required of attendees who are neither members nor presenters. Tickets may be reserved by email, with limited numbers available.

A complete schedule with further information on the conference, keynote speakers, and beautiful Amelia, Italy, will be available on our website. The conference will include presentation of the 2009 ARCA Awards, and a keynote speech from Col. Giovanni Pastore of the Carabinieri Division for the Protection of Cultural Heritage.

Please send submissions, ticket requests, and inquiries to conference@artcrime.info .

March 11, 2009

Wednesday, March 11, 2009 - ,,, No comments

ARCAblog Podcast: The 1961 Goya Art Theft

In July 2008, ARCA director, Noah Charney delivered a lecture at Cambridge University which discussed the 1961 art theft of Goya's "Portrait of the Duke of Wellington," 1812-14. The theft grabbed headlines for the unusual ransom demands made for the return of the painting. The stolen Goya was even referenced in pop culture when it was shown hanging on a wall in the 1962 James Bond film Dr. No. As Charney discusses, the trial that ensued after the painting's recovery helped to reshape and redefine "theft" under British common law. The podcast can be found here or by clicking this post's title as well.

March 7, 2009

Saturday, March 07, 2009 - No comments

Headlines Memo

  • The State Department investigates confiscation and sale by Fidel Castro of a work by Spanish Impressionist Joaquin Sorrolla.
  • Tome Raiders: Rare book theft is sadly often easy to carry out, especially in smaller libraries and places such as monasteries.
  • In a twist on the usual international cultural property spat, can plaintiffs collect damages from a county in the form of confiscating and selling cultural property? Read about a long-running case against Iran by victims of a suicide bombing.
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March 4, 2009

ARCAblog Podcast: The 1876 Gainsborough Art Theft

In ARCA's first podcast, director Noah Charney, takes us on a journey through the criminal underworld of the 19th century and beyond. Beginning with the sale of the portrait of Georgiana Spencer, the Duchess of Devonshire (portrayed by Keira Knightley in the 2008 film The Duchess) by Thomas Gainsborough, 1787, and introducing an intriguing cast of characters from a robber baron to the first private eye to even the man whom many consider to be the most successful criminal of all time, this podcast is not to be missed! Download the podcast here.

February 25, 2009

Wednesday, February 25, 2009 - , No comments

Iraq's National Museum resumes limited operations

The National Museum in Baghdad officially reopened, as a “working institution,” but it is not yet open to the public. Security risks loom large; armed guards patrol the roofs and survey the grounds from machine gun nests; more valuable objects remain vaulted away.

Check out the NYTimes video. There’s some amazing ancient statues, and it's a good feeling to see one of the greatest and oldest collections in the world on display again, despite the ongoing issues.

February 20, 2009

Friday, February 20, 2009 - ,, No comments

Iraq's National Museum nears re-opening

Iraq’s National Museum is scheduled to open on Monday, 2/23, unless it isn’t. Controversy rages over which ministry controls the museum, amid continued worries about security.
On February 11, Dr. Zainab al Bahrani, a former curator of the Met, Dr. Lamia al Gailani, a former curator of the Iraq National Museum, Dr. Donny George Youkhanna, a former Chair of Iraq’s Board of Antiquities and Heritage, and two others, signed a letter to Iraq’s government requesting postponement of the opening of the National Museum, for security reasons. The full text is available here.
The reopening would be a great step forward for Baghdad and Iraq. The collection, even reduced by looting, is one of the country’s crown jewels. The positive economic value of museums for tourism and education is undisputed, and much-needed in Iraq. However, it would be tragic to incur any further loss due to inadequate security, which is tantamount in a country with shaky peace. Over 12,000 items were stolen after the 2003 invasion, only half of which have been returned.

The Gardner Heist: An Interview with Author Ulrich Boser


Nearly twenty years after the largest art theft in history, the Isabella Stewart Gardner Museum whodunit mystery remains unsolved. Even as the hollow frames secured to the museum’s walls endure – wistfully remembering the million-dollar works of art they once decorated – the ISGM continues to thrive and be embraced by an artistic community that treats the Venetian palazzo not as damaged goods, but as a survivor. The museum is a testament to Mrs. “Jack” Gardner’s personal devotion to the arts. It transcends the collection of cultural curiosities it evolved into during her lifetime, and has become a retreat for people who share common affection for its contents.

Adopted by the city of Boston after marrying one of its richest sons, Gardner made “frequent ‘copy’ for two hemispheres” as she traveled the world and lived the life of an eccentric heiress. In his book, Isabella Stewart Gardner and Fenway Court (sold for $6 in 1925), Morris Carter, the museum’s first director, describes how her villa and its collection filled the void left by her inability to have children (a tragic childbirth in which her only child died in infancy resulted in Gardner’s being unable to have children thereafter). Gardner’s collection, which came to life with each new acquisition, seems to have assuaged these sorrows.

For many, a trip to the museum has become similar to what Gardner’s European travels were for her, “the opportunity for the acquisition of knowledge and cultural expansion.” The thieves, who for over an hour perused the collection, carried out not only priceless works of art, but also a portion of Mrs. Jack Gardner’s vibrant legacy.

Recently, in anticipation of the upcoming release of The Gardner Heist on February 24th, I was fortunate enough to speak with author Ulrich Boser, and hear what he had to say about the largest art theft in history.

MD: How did you come to inherit the files of famed art detective Harold Smith?

UB: Shortly after Smith died, I contacted his family and asked if I could look through his Gardner files. At first, they told me that his files were missing, that it appeared that someone had thrown them out. The family kept hunting, and it turned out that a number of Smith’s most important files had in fact been saved, including police reports and copies of old interviews. Smith had also written up some fictional accounts of his biggest cases, which his daughter Tara gave me. Smith’s family was very gracious, very open. I could not have written the book without their support.

MD: Did the ISGM assist you in your investigation and research?

UB: When I first sent my request for an interview to the museum’s public relations director, she emailed me back and said: “We have to decline access.” If I needed quotes, I could get a written statement from the director of the museum or interview the head of security. But I continued to write emails and letters, and we built up trust and a shared understanding. And since then the museum has been exceptionally supportive. They allowed me to interview director Anne Hawley. They allowed me to use images of the paintings. I’m particularly indebted to director of security Anthony Amore. He’s an ace investigator; he has been very helpful to me.

MD: What was your most memorable moment not contained in the pages of The Gardner Heist that you experienced?

UB: I wished I could have spent more time discussing Smith’s investigation of the Golden Door robbery. It took Smith years to crack the case; it is believed to be the largest gold heist in American history. I also talked a lot with art detective Charley Hill. That was also cut from the manuscript. Hill is a fascinating person and a great art detective. He was written up in Dolnick’s excellent book The Rescue Artist.

MD: How do you account for the eclectic selection of works stolen from the ISGM?

UB: While I think the Gardner thieves were expert criminals, they were not professional art thieves, and I think they didn’t really know the value of what they were taking. The thieves stole a few big-name items—the Rembrandts, the Vermeer—and then they seem to have nabbed whatever else caught their eye. How else can you explain the theft of the finial? The ku? Those items are valuable. But compared to a Vermeer or a Titian, they are little more than knickknacks.

MD: Why did the ISGM thieves not try to steal works of art that might have been easier to sell on the market (e.g. the Zorn’s in the Blue Room on the first floor)?

UB: If the thieves wanted to steal items and slip them back into the legitimate art market, they did make some good choices. The finial, the ku, you could certainly sell those artifacts on e-Bay. You might not get much money, but you could certainly pawn them off. The Vermeer, of course, would be nearly impossible to sell on the open market.

MD: How did your experiences as a journalist help or hinder you in your extensive research for The Gardner Heist?

UB: On one side, it helped. People want publicity, and so they would talk to me in an effort to get their story out to the public. On the other hand, being a journalist did occasionally hinder my efforts. I had to abide by journalistic norms, and I always identified myself as a reporter, I always made sure that off the record comments stayed off the record.

MD: How do you account for why the thieves spent such little time on the first floor of the museum and did not even make it up to the third floor where there are works by Titian, Velazquez, and Botticelli?

UB: Honestly I can’t tell you why the thieves spent such little time on the first and third floor. What is interesting, though, is the fact that the thieves were in the museum for over an hour. By the standards of a robbery, that’s a lifetime. Indeed, many robberies are over in minutes. And I think it shows that the thieves had a working knowledge of the museum’s security system before they entered the building. They must have had some sort of inside connection.

MD: As the global recession worsens will criminals involved in or close to the heist become more inclined to find the paintings and return them for the $5 million reward? Or is this more proof that those involved in the heist and its aftermath do not know the location of the works of art?

UB: I think that if someone had the art—and they were inclined to return it—they would have done it already. So yes what seems more likely is that those involved in the heist no longer know the location of the works of art. But no one knows for sure. After all, the art has not been returned. That’s the great mystery of the case.

MD: Do you believe that such a “successful” heist could occur in a museum of the same caliber as the ISGM today?

UB: The Gardner has done a lot to improve their security. They have many more cameras, many more guards, much better training. But the bottom line is that almost any museum can be robbed. If a thief is committed, they can usually find a way. But keep in mind that museums much larger than the Gardner get hit up too. In November 2006, for instance, someone managed to swipe some fossils from one of the Smithsonian’s galleries.

In the upcoming weeks, Boser will be on-tour stopping at a number of bibliophilic venues for readings, signings, and discussions. One may find his schedule here. Also, his passion for the unsolved Gardner heist has inspired him to organize “The Open Case – a magazine and web community devoted to solving unsolved crimes,” coming March 2009.

Originally posted at Art Theft Central: The Gardner Heist: An Interview with Author Ulrich Boser

February 14, 2009

Saturday, February 14, 2009 - No comments

Headlines Memo

  • The world's economic woes have hit art auctions; no surprise there. Sotheby's see over 50% reduction in sales in Hong Kong.
  • China and Taiwan agree to consider sharing their art.
  • SF Chronicle reviews a new book on the $600 million Gardner Heist.
  • The Iraqi National Museum, ransacked in 2003, is set to re-open.
  • Royal Canadian Mounted Police form their own art crime squad.
  • China demands return of two bronze sculptures, owned by Yves Saint-Laurent, taken in the Opium Wars.
  • Someone scratched Chicago's Bean.
  • When art is the crime: Obama portrait artist's notoriety continues with an arrest in Boston.

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February 9, 2009

Art Theft: Does punishment really have a deterrence effect?

Earlier this month, in my post "Art Crime and Punishment" I discussed the need to establish punishment for committing various art crimes according to not only the harm inflicted on the public sphere, but also to the level of damage done to the work of art (its being beyond repair, or kept in proper humidity/temperature/preserving it while stolen). This post followed up one from December, "Numbers Game: Why Art and not a Ferrari?" that discussed the rates of success of criminals committing art theft compared to other crimes.

Recently, I researched documentation that supports this view that the certainty of punishment could be a motivation for crime. Currently, it is estimated that art theft cases are solved about 10% of the time. In August 1998, the National Center for Policy Analysis published an article on the Impact of Punishment on Crime. In "Certainty of Punishment vs. Severity of Punishment," the article discusses which is the greatest deterrent. The NCPA states,
In their decision making, prisoners are much more sensitive to changes in certainty than in severity of punishment. In terms of real-world application, the authors of the study speculate that "long prison terms are likely to be more impressive to lawmakers than lawbreakers." Supporting evidence for this viewpoint comes from a National Academy of Sciences panel which estimated that a 50 percent increase in the probability of incarceration prevents about twice as much violent crime as a 50 percent increase in the average term of incarceration. Likelihood of punishment often tends to affect property crimes more than violent and sexual offenses. This point is borne out in a study by Itzhak Goldberg and Frederick Nold showing that in communities where more people report burglaries to the police, fewer burglaries take place. A tendency to report crimes has an aggregate deterrent effect on criminals because it raises expectations of punishment. (reference to Itzhak Goldberg and Frederick C. Nold "Does Reporting Deter Burglars? An Empirical Analysis of Risk and Return in Crime," Review of Economics and Statistics 62, August 1980, pp. 424-31)
Accordingly, in light of the FBI's claim that 12.4%, 18.6%, and 12.6% of burglaries, larceny thefts, and motor vehicle thefts, respectively, were considered cleared by arrest or by exceptional means, it would be easy to conclude that the criminal mind would be drawn to art theft more so than other crimes. The greater the possibility for his or her getting away with art theft, as this study highlights, certainly must influence the criminal mind.

Some food for thought:
The NCPA states in the beginning of the excerpt that some studies show it is "prisoners" who are more sensitive to the certainty of punishment. This should be accounted for as not every art thief is a Myles Connor-type repeat offender. Nevertheless, the NCPA attempts to support a blanket claim by citing that the likelihood of punishment has a greater deterrence effect on nonviolent crimes as opposed to violent and sexual. The report also states that there is a decrease in burglary statistics in communities where more people report burglaries to the police.

Additionally, it would be interesting to see the art crime stats since the UK passed the "Dealing in Cultural Objects (Offences) Act 2003." The Act in Section 1 provides conviction on indictment of up to 7 years imprisonment and/or a fine, where a person: dishonestly deals in a cultural object that is tainted, knowing or believing that the object is tainted (Simon Mackenzie and Green, Penny, "Criminalising the Market in Illicit Antiquities," http://ssrn.com/abstract=1004267). In his other research, Mackenzie questions the effectiveness of such an act in discouraging the illicit trade.

Rather than passing stricter legislation with severer penalties, it would appear that the Sûreté du Québec and RCMP's announcement to create a new squad dedicated to art related crimes is the proper course of action.