The Rescue Artist Part 16

Harold Sack's remark that "money is honey" appeared in "Rewriting Auction Records," New York Times New York Times, January 25, 1990. The art dealer who observed that some buyers wanted to spend $1 million was Arnold Glimcher. See Calvin Tomkins, "Irises," The New Yorker The New Yorker, April 4, 1988.

S. N. Behrman noted in his brilliantly witty Duveen Duveen (New York: Random House, 1951, p. 293) that Joseph Duveen's clients "preferred to pay huge sums." (New York: Random House, 1951, p. 293) that Joseph Duveen's clients "preferred to pay huge sums."

John Walker was quoted on "the cost per square inch" of Ginevra Benci; Ginevra Benci; see William Grampp, see William Grampp, Pricing the Priceless Pricing the Priceless (New York: Basic Books, 1989, p. 25). (New York: Basic Books, 1989, p. 25).

Christopher Burge was quoted on "a whole new set of prices" in "The Specter of the Billion Dollar Show," Washington Post Washington Post, June 9, 1988.

The story about Renoir trading a painting for a pair of shoes appears in Ambroise Vollard, Renoir: An Intimate Record Renoir: An Intimate Record (New York: Dover, 1990, p. 50). Vollard was an art dealer and collector who wrote biographies of Renoir, Cezanne, and Degas. Renoir's (New York: Dover, 1990, p. 50). Vollard was an art dealer and collector who wrote biographies of Renoir, Cezanne, and Degas. Renoir's Portrait of Ambroise Vollard Portrait of Ambroise Vollard is at the Courtauld in London. is at the Courtauld in London.

The New York Times New York Times writer who compared the prices of Impressionist paintings to those of Boeing 757s was Peter Pa.s.sell. See "Vincent Van Gogh, Meet Adam Smith," writer who compared the prices of Impressionist paintings to those of Boeing 757s was Peter Pa.s.sell. See "Vincent Van Gogh, Meet Adam Smith," New York Times New York Times, February 4, 1990.

Pepe Karmel called Boy with a Pipe Boy with a Pipe "a pleasant, minor painting," and said he was "stunned" that it "could command a price appropriate to a real masterpiece by Pica.s.so. This just shows how much the marketplace is divorced from the true values of art." See "A Record Pica.s.so and the Hype Price of Status Objects," "a pleasant, minor painting," and said he was "stunned" that it "could command a price appropriate to a real masterpiece by Pica.s.so. This just shows how much the marketplace is divorced from the true values of art." See "A Record Pica.s.so and the Hype Price of Status Objects," Washington Post Washington Post, May 7, 2004.

Chapter 19: Dr. No Dr. No.

Bernard Berenson's remark about "a p.a.w.nbroker's shop for Croesus" comes from Philipp Blom, To Have and to Hold: An Intimate History of Collectors and Collecting To Have and to Hold: An Intimate History of Collectors and Collecting (Woodstock, N.Y.: Overlook Press, 2003, p. 127). (Woodstock, N.Y.: Overlook Press, 2003, p. 127).

The Hearst anecdote is from W A. Swanberg, Citizen Hearst Citizen Hearst (New York: Scribners, 1961, p. 465). (New York: Scribners, 1961, p. 465).

J. Paul Getty's diary entry is from Werner Muensterberger, Collecting: An Unruly Pa.s.sion Collecting: An Unruly Pa.s.sion (Princeton: Princeton University Press, 1994, p. 142). (Princeton: Princeton University Press, 1994, p. 142).

Robert Hughes discussed "how frenzied the world would be if there were only one copy of each book in the world" in "Sold!" Time Time, November 27, 1989.

Richard Feigen commented that "masterpieces evaporate" in "Getty Closing in on Acquiring Last Raphael in Private Hands," by Christopher Reynolds, Los Angeles Times Los Angeles Times, October 31, 2002.

The argument that "art was priceless" was S. N. Behrman's formulation of Duveen's sales pitch. See Duveen Duveen, p. 292.

For a fuller discussion of "the complex interplay between art and ownership," including insights on the distinction between works of art that belong to everybody versus those that one person can own, see "When Thieves Steal Art, They Steal from All of Us" by Sid Smith, Chicago Tribune Chicago Tribune, December 22, 2002.

Robert Hisc.o.x talked about art thieves on a BBC radio program called "Stealing Beauty," broadcast on July 8, 2001.

The anecdote about Marshall d'Estrees is from Pierre Cabanne, Great Collectors Great Collectors (New York: Farrar, Straus, 1961, p. ix). This cla.s.sic account of collectors and their obsessiveness is so comprehensive that it threatens to become an example of the mania that it explores. (New York: Farrar, Straus, 1961, p. ix). This cla.s.sic account of collectors and their obsessiveness is so comprehensive that it threatens to become an example of the mania that it explores.

The specific examples Adam Smith had in mind were gold, silver, and diamonds, whose "princ.i.p.al merit... arises from their beauty" rather than their utility; the same could surely be said of art. Colin Piatt quotes the pa.s.sage from Smith and draws on it for the t.i.tle of his excellent history of art and art buying, Marks of Opulence Marks of Opulence (London: HarperCollins, 2004). Smith's remarks are from (London: HarperCollins, 2004). Smith's remarks are from Wealth of Nations Wealth of Nations, Vol. 1, Chapter 11.

Macintyre's remark appears in a stimulating essay called "For Your Eyes Only: The Art of the Obsessive," Times Times (London), July 13, 2002. (London), July 13, 2002.

Chapter 20: "This Is Peter Brewgal" "This Is Peter Brewgal"

The Chicago Tribune Chicago Tribune characterized art thieves as a "cultured coterie of malefactors;" see "When Thieves Steal Art, They Steal from All of Us," December 22, 2002. characterized art thieves as a "cultured coterie of malefactors;" see "When Thieves Steal Art, They Steal from All of Us," December 22, 2002.

The first and by far the best account of the Courtauld theft was "The Case of the Stolen 'Christ' "by Henry Porter, in the Evening Standard Magazine Evening Standard Magazine, October 1991. The direct quotations in the account in the text are from Porter's article and from my interviews with Dennis Farr.

Chapter 21: Mona Lisa Smile Smile.

Allen Gore's claim that Idi Amin collected stolen art appeared in Judith Hennessee's "Why Great Art Always Will Be Stolen (and Seldom Found)," Connoisseur Connoisseur, July 1990.

The best biography of Georgiana is Amanda Foreman's Georgiana: d.u.c.h.ess of Devonshire Georgiana: d.u.c.h.ess of Devonshire (New York: Random House, 1999). (New York: Random House, 1999).

Chapter 23: Crook or Clown? Crook or Clown?.

Enger joked that he was better at crime than at soccer in an interview that appeared in Keith Alexander's BBC doc.u.mentary "The Theft of the Century."

Chapter 31: A Stranger A Stranger.

Johnsen remarked that Charley Hill looked "too elegant" to be a policeman in an interview in the BBC doc.u.mentary "The Theft of the Century."

Chapter 34: The Thrill of the Hunt The Thrill of the Hunt.

Peter Scott described the "s.e.xual, antisocial excitement" of crime in his memoir Gentleman Thief: Recollections of a Cat Burglar Gentleman Thief: Recollections of a Cat Burglar (London: HarperCollins, 1995, p. 4). (London: HarperCollins, 1995, p. 4).

INDEX.

The pagination of this electronic edition does not match the edition from which it was created. To locate a specific pa.s.sage, please use the search feature of your e-book reader.

Aasheim, William, 234Action New Life, Norway, 22The Adventures of Huckleberry Finn (Twain), 116 (Twain), 116Amin, Idi, 143Andreotti, Giulio, 153, 154Anti-abortion group, suspected involvement of, in theft ofThe Scream, 21-24 21-24Anxiety (Munch), 80 (Munch), 80Arafat, Ya.s.ser, 119Aristotle Contemplating the Bust of Homer (Rembrandt), 131 (Rembrandt), 131Arkan, Serbian gangster, 156Artdetermining authenticity of Munch's, 87-88, 223-24forgeries, 146-49, 171-73high prices in, 129-32insurance on, 27-29, 63as investment, 129-30stolen (see (see Art crime; Stolen art) Art crime; Stolen art)Art collectorshidden ident.i.ty of, 137-38j.a.panese, 48, 129, 137motivations of, 134-36speculation about art thefts commissioned by, 72, 133-34, 138thieves as, 144-45, 150-51Art crime, 11-16. See also See also Art thieves and crooks; Stolen art Art thieves and crooks; Stolen artamateurs and bunglersinvolved in, 139, 140-42appeal of, to thieves, 16gangsters involved in, 139, 152-56high prices of art linked to, 131-32, 139-40C. Hill on, as "farce," 121as "kudos" crime, 215laws on, 25as opportunism, 15-16recovery rate in, 1, 13-14simple techniques of, 14-15speculation on art collectors willing to commission, 72, 133-34, 138, 143, 145-49, 189statistics on extent of, 11-12violence a.s.sociated with, 57-58, 123, 124, 154, 155Art Loss Register art recovery company, 237Art market, 128-32high prices in, 129-32investment aspect of, 129-30for stolen-and-recovered paintings, 130-31unregulated nature of, 128-29Art News (U.S. magazine), 149 (U.S. magazine), 149Art Squad (Scotland Yard), 24campaign by, for permissionto recover The Scream, The Scream, 46-47 46-47sting set up by, and recovery of Munch's The Scream, The Scream, 48-49, 78-88. 48-49, 78-88. See also The Scream See also The Scream (Munch), 1994 theft and recovery of (Munch), 1994 theft and recovery ofwork of, and problems facing, 25-33Art Theft and Forgery Investigations: The Complete Field Manual (Spiel), 149 (Spiel), 149Art thieves and crooks, 139, 140-42amateurs and bunglers as, 139, 140-42S. Breitwieser, 144-45M. Cahill as, 56-60, 63-64, 67, 68, 70, 77, 122, 126, 127categories of, 139as collectors, 144-45, 150-51A. Daisley as, 140-41D. Duddin, 185-96R. Dugdale as, 123-26efficiency of, 14-15P. Enger as, 160-62, 234-35financial issues and, 131-32, 139-40gangsters as, 139, 152-56motives of, 29-32as opportunists, 15V. Perugia as, 146-49P. Scott as, 215-16A. Worth as, 150-51Ashmolean Museum, Oxford,Great Britain, 13, 133The Astronomer (Vermeer), (Vermeer), 12n 12n

Bailey, Anthony, 62Ball at the Moulin de la Galette (Renoir), 48, 137 (Renoir), 48, 137Bath, Marquess of, 236Beit, Alfred, Sir, 59, 60, 63, 122, 125. See also See also Russborough House, Ireland, art thefts from Russborough House, Ireland, art thefts fromBeit, Clementine Freeman-Mitford, Lady, 59, 63, 122-23, 125Belgium, recovery of Vermeer painting in, 69, 70-77 70-77 Bellotto, Bernardo, 126 Bellotto, Bernardo, 126View of Florence, 126-27 126-27Berenson, Bernard, 134Berg, Knut, director, Norway'sNational Gallery, 8-9, 18, 93, 233Berman, Charley (C. Hill alias), 65, 68Berntsen, Geir, 7Birmingham Museum and Art Gallery, England, 140-41Bishop, Tom (FBI pseudonym), 68Bok, Sissela, 115-16Bouquet of Peonies (Manet), 13 (Manet), 13Boy with a Pipe (The Young Apprentice) (Pica.s.so), 132, 137 (Pica.s.so), 132, 137Breitwieser, Stephane, art thefts perpetrated by, 144-45Bruegel the Elder, Pieter, 104theft of Christ and the Woman Taken in Adultery Christ and the Woman Taken in Adultery by, 141-42, 181-84 by, 141-42, 181-84Brueghel the Younger, Pieter, 104Buccleuch, Duke of, 29Bunton, Kempton, 188Burge, Christopher, 131Butler, John (head of Art Squad), 29, 32, 233campaign by, for permission to recover The Scream, The Scream,46-47role in sting to recover The Scream, The Scream, 51-53, 109, 114-15, 197, 198-99, 205-6 51-53, 109, 114-15, 197, 198-99, 205-6By the Deathbed (Munch), 80 (Munch), 80

Cahill, Martin "The General," 1986 theft of Vermeer painting and other artwork by, 56-60, 63-64, 67, 68, 70, 77, 122, 126, 127Caravaggio (Michelangelo Merisida), 153-54Nativity with St. Francis and St. Lawrence, 153 153The Caravaggio Conspiracy (Watson), 154n (Watson), 154nCellini, Benvenuto, 12, 239Cezanne, Paul, 13, 133Chaffinch, Lynne, 155Chaudron, Yves, 146-48Le Chemin de Sevres (Corot), 16 (Corot), 16Chevalier, Tracy, 60Chez Tortoni (Manet), 14, 240 (Manet), 14, 240Cholmondeley, Lord, 239Christ and the Woman Taken in Adultery (Bruegel), 104 (Bruegel), 104theft and recovery of, 141-42Christie's auction house, 131Christ's Entry into Brussels in 1889 (Ensor), 82, 112 (Ensor), 82, 112Church of San Lorenzo,Palermo, Italy, 153Codex Leicester, 136nCommand for the Preservation of Cultural Heritage, Italy, 152-53Concerned Criminals, 59The Concert (Vermeer), 12, 14, 62, 240 (Vermeer), 12, 14, 62, 240Conforti, Roberto, 153Corot, Jean Baptiste Camille, Le Chemin de Sevres, Le Chemin de Sevres, 16 16Counterfeit Currency Squad,Great Britain, 211Counterfeit money case,Charley Hill's undercover work on, 210-13Courtauld Inst.i.tute Galleries,London, theft of Bruegel'sChrist and the Woman Taken in Adultery from, 141-42, 181-84 from, 141-42, 181-84Coyle, Tommy, 65-67Cranach the Elder, Lucas, 155Ill-Matched Lovers, 155 155theft of Sybille of Cleves Sybille of Cleves by, 144-45 by, 144-45Czech Republic, 155, 178

Dagbladet (Norwegian newspaper), 17, 95-96, 162 (Norwegian newspaper), 17, 95-96, 162Daisley, Anthony, theft ofWallis's Death of Chatterton Death of Chatterton by, 140-41 by, 140-41Dalrymple, Mark, 139-40, 175, 179The Day They Stole the Mona Lisa (Reit), 146 (Reit), 146Death of Chatterton (Wallis), 141 (Wallis), 141Death Struggle (Munch), 80 (Munch), 80Decker, Karl, 148-49Degas, Edgar, 14Les Demoiselles d'Avignon (Pica.s.so), 132 (Pica.s.so), 132Despair (Munch), 80, 86 (Munch), 80, 86Diamonds, stolen, 67, 70Dr. No, imagined wealthy art collector willing to commission art thefts, 72, 133-34, 136, 138, 143, 145-49Doescher, Russell, 85n 85n Donovan, James, 57-58 Donovan, James, 57-58Doyle, Arthur Conan, 151Drugs, smuggling and selling illicit, 30, 31, 70Duddin, David, 185-96on lessons applied to art crime, 191-92on market for stolen art, 189-90on stolen Rembrandt, 192-96Duddin, Mary, 187, 188, 191, 196Dugdale, Rose, art theftscommitted by, 123-26Durer, Albrecht, 78Duveen, Joseph, 135

Elizabeth II, Queen of England, 60Ellis, d.i.c.k (Art Squad detective), 26, 175-76on Art Squad stings to recover art, 47, 48work on sting to recover The Scream, The Scream, 52-53, 91, 107-8 52-53, 91, 107-8Enger, Pal, 243art thefts perpetrated by, 160-62theft of The Scream The Scream and role of, 234, 235 and role of, 234, 235Ensor, James, Christ's Entry into Brussels in 1889, Christ's Entry into Brussels in 1889, 82, 112 82, 112d'Estrees, Marshall, 136Europol, 32Expressionism, 112

Farr, Dennis, 142on observing Charley Hillworking undercover, 181-84Federal Bureau of Investigation(FBI), U.S., 239, 240Feigen, Richard, 135Feliciano, Hector, 152n Fitzgerald, F. Scott, 105 Fitzgerald, F. Scott, 105Fogelberg, Christer, 114-15Foley, Martin, 122Foster, Elizabeth, 150Francis I, King of France, 12n Freud, Sigmund, 81 Freud, Sigmund, 81Frick, Henry, 135The Frieze of Life (Munch), 86 (Munch), 86Gainsborough, Thomas, 150Madam Baccelli: Dancer (Gainsborough), 69, 122, 126 (Gainsborough), 69, 122, 126Gangsters involved in art crime, 139, 152-56Gardner, Isabella Stewart, 28Gardner Museum, Boston,USA, 14-15, 28, 240, 244Gates, Bill, 136nGauguin, Paul, 18Georgiana, Duke ofDevonshire, 150-51Getty, J. Paul, 50, 134Getty Museum, California, 50-51, 135Charley Hill's cover asrepresentative of, 51-54, 107, 111, 166Girl Before a Mirror (Pica.s.so), 132 (Pica.s.so), 132Girl Reading a Letter at an Open Window (Vermeer), 61 (Vermeer), 61Girl with a Pearl Earring (Vermeer), 61 (Vermeer), 61Girl with a Red Hat (Vermeer), 61 (Vermeer), 61Gombrich, E. H., 60A Good Story (Walle), 8 (Walle), 8Goya, Francisco de, 18, 63, 77, 79, 136-37, 187Portrait of Dona AntoniaZarate, 76, 123, 126 76, 123, 126Portrait of the Duke of Wellington, 136-37, 187-88 136-37, 187-88Grey, Charles, 210Grytdal ("Psycho"), role in theft of The Scream, The Scream, 203-5, 217-19, 229-31, 234, 235 203-5, 217-19, 229-31, 234, 235Guardi, Francesco, 64, 77Guernica (Pica.s.so), 132 (Pica.s.so), 132The Guitar Player (Vermeer), 12, theft of, 124-26 (Vermeer), 12, theft of, 124-26Gutenberg Bibles, 134

Harwood, Billy, 47-48, 91-92Hatred (Munch), 82 (Munch), 82Hawkwood, John, Sir, 37Head of a Girl (Vermeer), 62 (Vermeer), 62Hearst, William Randolph, 134Henry VIII, King of England, 144, 192Hill, Charley, 1, 34-42anti-gun bias of, 179-80close calls while doingundercover work, 210-13on corrupt cops, 104departure from police to become detective-for-hire, 235-40family of, 35, 38-40D. Farr on observing Hill working undercover, 181-84investigation of Parmigianino artwork by, 167-73as London police officer, 45his love of art, 41-42, 45mission and motives of, 214-16personality and character of, 36-38, 45-46, 71, 92, 99, 104-6, 175, 176his philosophical approach tolying, 115-16on police att.i.tudes toward art crime, 26"prop traps" used by, 163-66recovery of Vermeer painting by, 65-77relationship of, with crooks and informants, 101-4, 185-96Scream recovery sting and role of, 32-33, 53-55, 78-88, 91-92, 107-12, 163-66, 197-200, 203-9, 217-32 recovery sting and role of, 32-33, 53-55, 78-88, 91-92, 107-12, 163-66, 197-200, 203-9, 217-32on speculation about art collectors who commission art thefts, 138spoken-language accent of, 23-25, 176undercover role as GettyMuseum representative, 51-54, 107, 111, 166undercover work of, prior to Scream Scream sting, 35, 65-77, 142, 167-84, 210-13 sting, 35, 65-77, 142, 167-84, 210-13uses of American and Britishmannerisms and vernacularlanguage by, 54-55, 176-77, 184Vietnam military service, 40-41, 106, 170-71wife Caro, 104-5, 213Hill, Jim, 145-46Hill, Landon (Charley Hill's father) 38, 39, 40Hisc.o.x, Robert, 136Hitler, Adolf, 12nHolbein, Hans, 144Hopper, Edward, 80Hughes, Robert, 129, 135Hultgreen, Gunnar, 95-96

Ill-Matched Lovers (Cranach), 155 (Cranach), 155Ingres, Jean-Auguste-Dominique, 147Insurance on art, 27-29, 63Interpol, 11, 32Irises (van Gogh), 48 (van Gogh), 48Irish Republican Army (IRA), 123, 124Italy, 25extent of art theft in, 11-12gangsters involved in artcrimes in, 152-54

j.a.pan, 25j.a.panese art buyers, 48, 129, 137Johnsen, Tor, role in theft and sting to recover The Scream, The Scream, 94, 95, 98-99 94, 95, 98-99first meeting with Charley Hill, 107, 109-12C. Hill's "prop trap" left for, 163-66meetings with Hill, Ulving, and "Psycho" Grytdal, 203-5, 217-19, 229-31money exchange and, 117-18Plaza Hotel meetings with E. Ulving and C. Hill, 113-20trial for theft of The Scream The Scream and death of, 234, 235 and death of, 234, 235Johnson, Paul, 61

Keller, Steven, 15Kelly, Richard, 68Kenwood House, London, art theft at, 124King and Queen (Moore), 103 (Moore), 103Kittler, Czech thief, 155Knudsen, Brre, 22-23Koplowitz, Esther, 237Krakatoa volcanic eruption, 84-85Kunsthistorisches Museum, Vienna, Austria, 12

Lacemaker (Vermeer), 62 (Vermeer), 62Lady Playing a Guitar (Vermeer), 60 (Vermeer), 60Lady Writing a Letter with her Maid (Vermeer), 12, 126, 246n (Vermeer), 12, 126, 246ntheft and recovery of, 59-60, 63-77, 122La.r.s.en, Tulla, 82Lefevre Gallery, London, 31Leonardo da Vinci, 136nMadonna of the Rocks, 78 78Madonna of the Yamwinder, 12, 13, 29, 239 12, 13, 29, 239Lier, Leif, 23, 94, 162, 210, 231, 235, 243Light and Colour (Turner), 155 (Turner), 155Lives of the Artists (Vasari), 168 (Vasari), 168The Lost Museum: The n.a.z.i Conspiracy to Steal the World's Greatest Works of Art (Feliciano), 152n (Feliciano), 152nLouvre, Paris, France, 16Lying, C. Hill's approach to undercover work and, 115-16Lying: Moral Choice in Public and Private Life (Bok), 115-16 (Bok), 115-16

McGarrick, Gerry, 68, 69Macintyre, Ben, 137, 150Madam Baccelli: Dancer (Gainsborough), 69, 122, 126 (Gainsborough), 69, 122, 126Madonna (Munch), 242, 244 (Munch), 242, 244Madonna of the Pinks (Raphael), 135 (Raphael), 135Madonna of the Rocks (Leonardo da Vinci), 78 (Leonardo da Vinci), 78Madonna of the Yamwinder (Leonardo da Vinci), 12, 13, 29, 239 (Leonardo da Vinci), 12, 13, 29, 239Mafia, possible involvement in art crimes, 153, 154Manet, Edouard, 14, 240Bouquet of Peonies, 13 13Chez Tortoni, 14, 240 14, 240Mannoia, Francesco Marino, 153-54Man Writing a Letter (Metsu), 77 (Metsu), 77Ma.s.sacre of the Innocents (Rubens), 129-30, 137 (Rubens), 129-30, 137Mellon, Andrew, 135Messina, Antonello da, 154Metropolitan Museum of Art, New York City, 131, 143Metsu, Gabriel, 69, 77, 244Man Writing a Letter, 77Woman Reading a Letter (Metsu), 69, 244 (Metsu), 69, 244Mona Lisa (Leonardo da Vinci), forgeries and claimed theft of, 146-49 (Leonardo da Vinci), forgeries and claimed theft of, 146-49Moore, Henry, King and Queen King and Queen (Moore), 103 (Moore), 103Morgan, J. E, 134, 135, 136, 150Morgan, Junius Spencer, 150Mulvihill, Niall, 72-77Munch, Edvard, 1, 6Anxiety by, 80 by, 80By the Deathbed by, 80 by, 80Death Struggle by, 80 by, 80Despair by, 80, 86 by, 80, 86Frieze of Life by, 86 by, 86Hatred by, 82 by, 82C. Hill's study of, 78-79, 82, 87-88life and work of, 79-82, 83-87Madonna by, 242, 244 by, 242, 244Portrait of the Painter Jensen-Hjell by, 83 by, 83The Scream (see The Scream, Munch, theft of)The Sick Child by, 80, 83 by, 80, 83Study for a Portrait (Munch), 19 (Munch), 19The Vampire by, 18-19, 160-61, 234 by, 18-19, 160-61, 234Munch Museum, Oslo, Norway, art thefts from, 18-19, 160, 241-43Museum for Contemporary Art, Norway, 243Museum of the Missing (missing artwork), 13

Napoleon of Crime (Macintyre), 150 (Macintyre), 150National Fine Arts Museum, Paraguay, 13National Gallery, Great Britain, 15, 27, 135nNational Gallery, Oslo, Norway, 243art thefts from, 18, 19press conference announcing return of The Scream, The Scream, 233 233security mistakes of, 9, 11theft of The Scream The Scream from. See from. See The Scream The Scream (Munch), 1994 theft of (Munch), 1994 theft ofNational Gallery of Ireland, 60National Gallery of Modern Art, Rome, Italy, 13Nativity with St. Francis and St. Lawrence (Caravaggio), 153 (Caravaggio), 153n.a.z.is, art thefts perpetrated by, 12n, 152nNessa, Ludvig, 22-23New Yorker (U.S. magazine), 149 (U.S. magazine), 149New York Times (U.S. newspaper), 131, 149 (U.S. newspaper), 131, 149Nicholas, Lynn, 152nNorway, criminal gangs in, 160-62Norwegian police investigation of The Scream The Scream theft, 19-20, 32, 94, 159-62, 198-99, 203-4, 210, 229-31 theft, 19-20, 32, 94, 159-62, 198-99, 203-4, 210, 229-31presence of, at Plaza Hotel where C. Hill and thieves met, 113-15, 118-20, 164-65E. Ulving stopped by traffic police, 197-98

Olson, Don, 85nOlson, Marilyn, 85nOlympic Winter Games (1994), Norway, 7-8, 18, 159Organized crime involved in art thefts, 152-56Oslo Accords, 119Oudry, Jean-Baptiste, 239White Duck, 239 239

Parmigianino, C. Hill's investigation of thefts of works by, 167-73Paradise Lost (John Milton), 134 Milton), 134Pembroke, Earl of, 192, 193Perugia, Vincenzo, art theftperpetrated by, 146-49Pica.s.so, Pablo, 31, 215Boy with a Pipe (The Young Apprentice), 132, 137 132, 137Les Demoiselles d'Avignon, 132 132Girl Before a Mirror, 132 132Tete de Femme (Pica.s.so), 215 (Pica.s.so), 215Plahter, Lief, 96, 233Poe, Edgar Allan, 46Police. See also See also Art Squad (Scotland Yard); Norwegian police Art Squad (Scotland Yard); Norwegian policedisdainful att.i.tude of, toward art crimes, 26-27, 29, 237C. Hill on corrupt, 104Portrait of a Dominican Monk (Rubens), 69, 127 (Rubens), 69, 127Portrait of Dr. Gachet (van Gogh), 48, 131, 137 (van Gogh), 48, 131, 137Portrait of Dona Antonia Zarate (Goya), 76, 123, 126 (Goya), 76, 123, 126Portrait of the Artist Without His Beard (van Gogh), 137 137Portrait of the Duke of Wellington (Goya), 136-37, 187-88 (Goya), 136-37, 187-88Portrait of the Painter Jensen-Hjell (Munch), 83 (Munch), 83Price, Albert, 125Price, Dolours, 124, 125Price, Marion, 124, 125Priests, anti-abortion, suspected in art theft, 22-24The Procuress (Vermeer), 61 (Vermeer), 61Prop trap, Charley Hill's undercover, 163-66

Rabin, Yitzhak, 119Raging Hormones (Walle), 8 (Walle), 8Rape of Europa (book by Nicholas) 152n (book by Nicholas) 152nRape of Europa (painting by t.i.tian), 14 (painting by t.i.tian), 14Raphael (Sanzio), Madonna of the Pinks Madonna of the Pinks (Raphael), 135 (Raphael), 135Regional Crime Squad, GreatBritain, 211Reit, Seymour, 146-49Rembrandt van Ryn, 14, 18, 31, 78, 131, 240D. Duddin on stolen painting by, 192-96Sacrifice of Isaac, 78 78Storm on the Sea of Galilee, 240 240Renoir, Pierre Auguste, 131Ball at the Moulin de la Galette, 48, 137 48, 137Rest on the Flight into Egypt (t.i.tian), 236-37 (t.i.tian), 236-37Reynolds, Joshua, 64Roberts, Christopher Charles (Hill alias), 53-54, 71, 72, 78, 91, 107, 117. See also See alsoHill, CharleyRocky, undercover detective, 175-76Rubens, Peter Paul, 63, 69, 127Ma.s.sacre of the Innocents, 129-30, 137 129-30, 137Portrait of a Dominican Monk, 69, 127 69, 127Russborough House, Ireland, art thefts from, 59-60, 63-69, 77, 121-27, 186M. Cahill's theft and recovery of Lady 'Writing a Letter with her Maid Lady 'Writing a Letter with her Maid from, 59-60, 63-77, 122 from, 59-60, 63-77, 122Dugdale raid and theft at, 123-26 thefts between 1986 and 2002, 126-27Russell, Tom, 102-4

Sack, Harold, 130Sacrifice of Isaac (Rembrandt), 78 (Rembrandt), 78Saito, Ryoei, 137Sargent, John Singer, 28Sa.s.soon, Donald, 149Sazonoff, Jonathan, 144nScotland Yard detectives, 24. See also See also Art Squad (Scotland Yard) Art Squad (Scotland Yard)Scott, Peter, burglar, 215-16The Scream (Munch), 80, 82 (Munch), 80, 82delicate condition of, 22determining authenticity of, 87-88, 223-24first exhibition of, 84Krakatoa eruption and, 84-85in popular culture, 85-86Spring Evening on Karl Johan Street by, 81 by, 81Still Life by, 82 by, 82theft of one of four versions of, in 2004, 241-44The Scream (Munch), 1994 theft and recovery of, 5-10, 17-20, 237 (Munch), 1994 theft and recovery of, 5-10, 17-20, 237Art Squad and C. Hillprepare sting to recover, 32-33, 48-49, 53-55, 78-88frame of, 95-96, 97C. Hill as undercover agent in, and interactions with thieves, 107-12, 163-66, 197-200, 203-9, 217-27luring thieves of, from hiding, 91-106Norwegian police investigation of, 19-20, 32, 94, 159-62, 198-99, 203-4, 210, 229-31public reaction to, 20, 21return of, to National Gallery, 233-34role of T. Johnsen in (see (see Johnsen, Tor) Johnsen, Tor)role of National Gallery's J.K.Thune in recovery, 93-94, 107role of E. Ulving in (see (see Ulving, Einar-Tore) Ulving, Einar-Tore)security problems leading to, 9, 11suspicions about P. Enger as thief of The Scream, The Scream, 161-62 161-62taunting card left by thieves, 8, 17thieves' fee for return of The Scream, The Scream, 115 115timing of theft, coincidingwith Olympics, 7-8, 17, 159tips to police about, 21-24, 91-92, 95-96S. Walker as undercover agent in, 108-11, 117-18, 165, 205, 217-19, 229-31Security mistakes and art theft, 9, 11, 15Serious and Organised Crime Unit (Scotland Yard), 26. See also See also Art Squad (Scotland Yard) Art Squad (Scotland Yard)Shade and Darkness (Turner), 155 (Turner), 155Shakespeare, William, 136The Sick Child (Munch), 80, 83 (Munch), 80, 83The Silent Scream (anti-abortion film), 23 (anti-abortion film), 23Skater (Portrait of William Grant) (Stuart), 78 (Stuart), 78Smith, Adam, 137Smith, John, 239Sorensen, Gunnar, 242-43Spiel, Robert, 149Spring Evening on Karl Johan Street (Munch), 81 (Munch), 81Still Life (Munch), 82 (Munch), 82Stolen artfinancial aspects of, 139-40insurance and, 27-29, 63organized crime and, 152-56ransom for, 32, 50recovery rate, 1, 13-14rewards offered for, 21-22speculation about theftscommissioned by artcollectors, 72, 133-34, 143, 145-49, 189Storm on the Sea of Galilee (Rembrandt), 240 (Rembrandt), 240Storr, Paul, 195Strictly Private (Marquess of Bath), 236 (Marquess of Bath), 236Stuart, Gilbert, Skater (Portrait of William Grant), Skater (Portrait of William Grant), 78 78Study for a Portrait (Munch), 19 (Munch), 19Sunflowers (van Gogh), 129 (van Gogh), 129Sybille of Cleves (Cranach), 144-45 (Cranach), 144-45

Tate Gallery, London, 27, 155-56Tate Modern Museum, London, 15Tete de Femme (Pica.s.so), 215 (Pica.s.so), 215Thieves. See See Art thieves and crooks Art thieves and crooksTh.o.r.e, Theophile, 61, 246nThune, Jens Kristian, direction, Norway's National Gallery, 93-94t.i.tian (Tiziano Vecellio)Rape of Europa, 14 14Rest on the Flight into Egypt, 236-37 236-37Trace art recovery company, 237, 238Trump, Donald, 137Turner, Frederick JacksonLight and Colour, 155 155Shade and Darkness, 155 155Turow, Scott, 99Tveita Gang, Norway, 160-62

Ulving, Einar-Tore, role in theft/recovery of The Scream, The Scream, 94-95, 97-99 94-95, 97-99C. Hills "prop trap" left for, 163-66C. Hill's suspicions of, 98-99first meetings with C. Hill, 107-12leads C. Hill to The Scream, The Scream, 220-26 220-26meetings with T. Johnsen, C. Hill and "Psycho," 203-5, 217-19painting hidden insummerhouse of, 207-9Plaza hotel meetings with T. Johnsen and C. Hill, 113-20stopped by traffic police, 197-98trial for theft of The Scream The Scream and, 234, 235 and, 234, 235United Statespoor security at art museums in, 15theft insurance in, 27

Valfierno, Eduardo de, 146-48The Vampire (Munch), 18-19 (Munch), 18-19theft of, 160-61, 234van Gogh, Vincent, 13, 48, 129Irises, 48 48Portrait of Dr. Gachet, 48, 131, 137 48, 131, 137Portrait of the Artist Without His Beard, 137 137Sunflowers, 129 129Van Ruysdael, Salomon, 64Velazquez, Diego, 63Verdens Gang (Norwegian newspaper), 10 (Norwegian newspaper), 10Vermeer, Johannes, 12The Astronomer, 12nThe Concert, 12, 14, 62, 240 12, 14, 62, 240Girl Reading a Letter at an Open Window, 61 61Girl with a Pearl Earring, 61 61Girl with a Red Hat, 61 61The Guitar Player 12, 124-26 12, 124-26Head of a Girl, 62 62Lacemaker, 62Lady Playing a Guitar, 60 60Lady Writing a Letter with her Maid, 12, 59-60, 63-77, 122, 126, 246n 12, 59-60, 63-77, 122, 126, 246nlife and art of, 60-63The Procuress, 61 61Woman with a Pearl Necklace, 62 62Young Woman Seated at a Virginal, 62 62Young Woman Standing at a Virginal, 62 62Vestier, Antoine, 77View of Florence (Bellotto), 126-27 (Bellotto), 126-27Violence a.s.sociated with art crimes, 57-58, 123, 124, 154, 155

Walker, Sidrole in sting to recover The Scream, The Scream, 108-11, 117-18, 165, 205, 217-19, 229-31 108-11, 117-18, 165, 205, 217-19, 229-31undercover investigations by, 168, 169, 213Walle, Marit, 8Wallis, Henry, 140-41Death of Chatterton, 141 141Watson, Peter, The Caravaggio Conspiracy The Caravaggio Conspiracy (Watson), 154n (Watson), 154nWhite Duck (Oudry), 239 (Oudry), 239Widdrington Hill, Zita (CharleyHill's mother), 38-39Williams, Paul, 67Wilson, Peter, 129Wilton House, England, Rembrandt painting stolen from, 192Woman Reading a Letter (Metsu), 69, 244 (Metsu), 69, 244Woman with a Pearl Necklace (Vermeer), 62 (Vermeer), 62Worth, Adam, art thefts perpetrated by, 150-151

Yasuda Fire and Marine Insurance Company, 129Young Woman Seated at a Virginal (Vermeer), 62 (Vermeer), 62Young Woman Standing at a Virginal (Vermeer), 62 (Vermeer), 62

ACKNOWLEDGMENTS.

The cops and robbers who specialize in art crime are few in number and wary of strangers. My guide to their ranks was Charley Hill. In a life marked by unlikely choices, Hill's decision to take an outsider behind the scenes ranks as one of the most surprising. The most important access Hill provided was to his own thoughts. I pestered him with questions in long interviews in London, New York, and Washington, D.C.; in short stints on the Staten Island ferry, a double-decker bus in London, and at the Vietnam Memorial in Washington; and in endless e-mails. For his patience in putting up with so intrusive a visitor, and for his forbearance in agreeing from the start that he would have no say in whatever I eventually wrote, I'm deeply grateful.

I had wanted to write about thieves who steal art and the detectives who chase them since 1990, when two crooks s.n.a.t.c.hed $300 million of art from the Gardner Museum in Boston, my hometown. Two of my good friends, Reed Hundt and Bill Young, helped me turn that vague hope into a specific plan. At every stage of the process, from the earliest outline through draft after draft, Bill and Reed served as unpaid but overworked advisers.

No writer can have better colleagues than grown children who are writers themselves. My two formidably talented sons, Sam and Ben, labored mightily to round their father's prose into shape.

Michele Missner, a researcher who is herself a precious find, cheerfully unraveled countless mysteries both large and small. Katerina Barry, an artist and a computer savant, took time from her own projects to gather and arrange pictures from around the globe. Pat Barry, a writer and historian with an encyclopedic knowledge of English (as opposed to American) slang and usage, labored valiantly to help me dodge the pitfalls that bedevil an innocent abroad.