Modus Operandi Page 3

  It would sensationalize the problem to suggest that the art market, especially during the 1970s, was heavily dependent on recirculating stolen objects. The proportion is higher in the field of simple works of art such as silverware, furniture, drawings, rare prints, engravings, porcelain and antiquities, than in the area of signed paintings by acknowledged, famous artists. Not only are there more of the former around, but their histories are infinitely harder to check and the records of their existence, if there are any, are more difficult to obtain.

  Archaeological Antiquities

  Thousands of objects are smuggled yearly from countries rich in antiquities to countries rich in economy. This is a particular problem for archaeological artifacts. Many millions of dollars worth of art are steadily being stolen from archaeological sites. Once an object is removed from its original site, the archaeologist has lost a valuable clue to interpreting a culture. The enormous profitability of acquiring or smuggling antiquities has led to the depletion of cultural treasures in many countries.

  Popular Culture

  Thieves don't always need high art to make a killing. Let's take for example, the recent rise in the popularity of dinosaurs. Let's face it —dinosaurs are hot! No need to remind you of one of the biggest box office hits of late, Jurassic Park. Along with Jurassic Park, came millions of dollars in T-shirts, sweatshirts, memorabilia, movies, prints and novel sales. When you discuss art and jewelry thefts, you must include other historically significant and desirable commodities. And what do you think were some of the hottest items stolen during the dinosaur revolution of the last five years? Archaeological findings and prehistoric memorabilia; actual artifacts and dinosaur bones, fossilized dinosaur eggs, imprints of dinosaur footprints, anything to do with dinosaurs. It was a hot commodity, and the prices skyrocketed.

  Organized Crime

  Organized criminal elements are turning their attention to the art world. Organized crime has always been quick to exploit the trends originally set by legitimate businesses such as alcohol vendors. In this case, the master criminal becomes aware of the enormous profit potential of art and begins to educate and prepare himself for this particular field. Additionally, just as financial consultants have established mutual funds and invested solely in works of art, so the criminal is now beginning to appreciate the investment value of art. In fact, even when recoveries are made, the frequent absence of one or two of the best pieces suggests stockpiling by the criminal element.

  Crime bosses and small-time crooks began to buy museum catalogs and art magazines and look very hard at the old and new masters. Compared to burglary or bank robbery, art thefts are easy and pay well for little risk. Many museums, prior to the 1960s, had never heard of security alarms, let alone used them. Insurance companies and owners who wanted the unique treasures returned safely would not argue about rewards or ransoms.

  So the crime bosses began to convert their henchmen into art thieves. When they found the extortion racket worked, they invented others: dealing stolen religious objects, altering them and filtering them into an antique market; new techniques in art smuggling; and selling novel art forms such as Hong Kong Ming. An equally inspiring tale of boldness was when a criminal sold Salvatore Dali one of his own stolen paintings. Remember that criminals play on human frailty and sorrow, and the fact that every man believes himself to be something of a discoverer and cannot resist the lure of easy money. The attempt by a person to make quick and easy money is one of the greatest human instincts.

  Forgeries

  A unique example of cultural and artistic work exists in parts of Africa. Much African art is carved in traditional styles, artificially aged, and then sold under false pretenses. These forgeries are so well executed, only the most competent experts are able to detect them. East African carvers visit museums to study the aging process and style of art objects. In Nigeria, West Africa, carvers generally have better access to museums than in the East, and are able to familiarize themselves with the art market.

  Art Theft to Order

  Remember that the art and antique thief does not have to be the person who physically removes the item from the home, business or museum. The actual thief, in terms of the police investigation, would not only be the person who physically removed the item, but the person who set the wheels in motion.

  For example: We have Mr. Jones, a collector of fine art and antiques. He's collected nearly all the signed original works of Salvatore Dali created during a certain time period when Dali, let's say, was at a certain level of impressionism in his painting. Mr. Jones does not have one painting and desires that one very much.

  We must remember that artists have periods in their lives, much like musicians, when their art takes on a certain style somewhat different from years before and the years that follow. So this collector, Mr. Jones, simply must have the one missing painting. He hires a private detective firm to find the rightful owner of the painting. But, the rightful owner is determined not to sell. If he still wants the painting, Mr. Jones must decide to do one of two things:

  Scenario 1: He may decide to have another person (a broker) approach the owner on his behalf for the sale of the painting. Of course, this is risky because, if the painting is stolen shortly after the person turns down the offer, the owner would only have to alert the local authorities as to who contacted him. However, should the broker approach the rightful owner and not represent exactly who he is trying to buy it for, then it cannot be traced as easily. Another downfall to this type of bid is that the owner will probably sell it to Mr. Jones at top dollar.

  Scenario 2: Now let's proceed to the more common way of acquiring the desired painting. Mr. Jones will use the services of a quasi-legal private investigator to determine the rightful owner and location of the desired painting. From that point he contacts a fence who he knows will deal in stolen art and antiques. Of course, these fences are sub-specialists to regular fences and are extremely difficult to find unless you know how. In these incidents the art, antique and jewelry fence will not be your corner pawnbroker, but may in fact be another legitimate dealer or an avid collector of these works.

  After reaching out to the professional art fence, it is the fence's turn to go into action as a broker. The fence contracts to someone else for the physical theft. In this particular instance the object is stolen to order.

  In It for the Money

  Mr. Jones wanted the missing Dali for personal pleasure. Now, the professional art thief has a completely different set of rules. Although any work of art in theory can be stolen, its usefulness to a thief depends on a complex web of interplaying factors. What is the demand on the free market for the item? How anonymous is the work of art or how can its identity be removed without destroying its value? Is it likely to be cataloged or recorded? Two principles determine the criminal's final choice: If it is not desirable it will not sell; if it is well known it can be traced.

  The Role of the Fence in Art Theft

  In the case of art, jewelry and antique thefts, the fence plays a crucial and pivotal role in the theft process. A fence, of course, is a person who will actually receive the property from the thief, and then either use it for his own benefit, or turn around and sell it to someone interested in the commodity, who in turn may resell it. You can imagine how

  difficult it is to get rid of something that is significant historically and politically, especially immediately after the crime has been committed. That is why in most of the cases where there is a major art or jewelry theft, everything has already been laid in place for the ultimate disposal of that stolen item.

  For example, let's assume there is a family who is very wealthy and has collected several Salvador Dali paintings. The home is burglarized, but the wheels were set in motion weeks to months before for the ultimate disposal of those paintings. The theft of them will make the local and, sometimes, national newspapers, but by that time, the items will have already been deposited with their new owner. In this manner, the fence is acting more in
the capacity of a broker, much like one for stocks or bonds. The art and jewelry thief must use the fence to dispose of the item in advance, because of its uniqueness and difficulty of disposing it through routine channels.

  Follow along the progression of a theft to its ultimate disposal. Let's take the case of a very famous stamp collector. He has the stamp series issued in 1919 honoring airplanes in the United States. One stamp was accidently minted upside down and 1,000 pieces were issued. Even though many people recognized this to be collectible back in 1919, let's presume that 100 to 150 of the stamps were used and postmarked by the Post Office.

  So now we have 850 uncirculated stamps grabbed up by collectors back in 1919. Be aware of the fact that every person who collected the stamp back in 1919 has most likely either kept it, sold it or had it stolen since the date it was struck. People who collect stamps and have antique and extremely valuable collections usually know who has the missing items they need for their collection. People involved in art and antique collecting buy several items that they can use as leverage to obtain the item that they really want. Most collectors would never dream of stealing from other collectors; part of the fun for them is the bargaining and trading. But, there are people who are so engrossed in completing their collection that they will do anything to obtain the missing piece or pieces.

  Capturing Art and Jewelry Thieves

  Art theft and crooked fences alone keep many police forces throughout the world occupied. More than $200 million in art objects are stolen every year, making such thefts the biggest criminal pursuits after international smuggling and selling of drugs like heroin and cocaine. To combat this epidemic of art crime, police in Europe and America have set up special art theft squads.

  The Art Squad

  Penalties for art crimes are much stiffer in England than in the United States. In England, art theft is taken very seriously, and the minimum sentence is usually five years. The English feel that when art is stolen, part of the national heritage is also stolen. In the United States, however, jail sentences for art-related crimes are usually the exception, rather than the rule.

  London is a clearinghouse for black market art and antiques, but it has one of the most efficient art detective units in the world. The Art Squad was established in 1968 at New Scotland Yard with approximately eleven detectives, and it has recovered more than $350 million dollars worth of stolen art. Among the first to use a computer, Scotland Yard has built up an international log of some 25,000 paintings and sculptures and other art treasures —a sort of identification kit. The description of artworks is fed into a mainframe computer, and within seconds, Scotland Yard can track an item offered for sale to an auction house or recovered by police forces throughout the world.

  Whenever an art loss is reported, details of the stolen pieces are published in the top art and antiques magazines. This helps to stop the sale of the object on the open market since legitimate dealers resent the intrusion of illegitimate dealers into the art market. In addition, the art squad has encouraged dealers to organize and communicate. For ex-

  ample, if Dealer A suffers a loss, he would contact Dealers B and C, who in turn contact two more and so on. It is hoped that the publicity would keep the theft from progressing into a sale.

  Members of the New Scotland Yard Art Squad are a certain breed. Not only do they know the foremost in detection methods and how to capture criminals, but they also bring a commitment to art and its heritage. Many members have a particular interest of their own, such as paintings or sculpture, furniture, silver, glass or antiques. They bring the perspective of collectors to the squad, which is invaluable.

  Art and Jewelry Theft Bureau of NYC

  The New York City Police Department is also active in catching art thieves with its undercover Art and Jewelry Theft Bureau. Since New York and London are key financial centers in the international art market, it is imperative that New York City occupy this position in the capture of art thieves. One of the most famous art theft detectives ever assigned to the Theft Bureau was Robert Volpe. Volpe is an artist as well as a detective, and it is this commitment to the art world that enabled Volpe to infiltrate many major art thefts rings. He was instrumental in recovering millions of dollars worth of art and jewelry and precious antiques, sculpture and the likes from the rings of thieves who attempted to sell it. Detective Volpe is one of the new breed of police officers who have become more and more specialized in areas of detective work.

  Interpol

  Detectives trained in the art market and experienced in the methods of dealers and crime syndicates specializing in art robberies have linked their efforts to beat the international racket. Interpol headquarters, located just outside Paris, receives dozens of reports of stolen paintings, sculptures and other rare objects and immediately circulates them to offices throughout the world. These bulletins go down the line to regional police forces who then check with their informants and contacts in the art trade. More than in any other criminal investigation, speed is vital in disseminating this information and publicizing it in the press and on television. Most stolen art sells more easily outside its country of origin, where it goes unrecognized. But once a stolen masterpiece or a valuable object appears in the press, on television or in trade publications, no honest dealer will touch it, and even the most crooked fence handles it with extreme care.

  Interpol reinforces its weekly bulletin with a monthly sheet listing the twelve most wanted works of art with pictures, descriptions, and details of their theft. This international organization of police covers most of the world. Its offices around the world are staffed by local detectives who act as liaisons between Interpol and forces like the New York City Police Department, Scotland Yard, and the F.B.I. If it were not for the actions of Interpol, hundreds of paintings smuggled across borders would have vanished forever due to their international appeal.

  Avoiding Capture

  Much stolen art goes underground for many years until it has established a new sales pedigree and everyone has forgotten about the theft. Then it can reappear in the hands of a private dealer or even in an auction room for a legitimate sale.

  Big crime bosses place stolen objects in a bank vault until the country's statute of limitations runs out and precludes their prosecution. They can then offer the painting even to its original owner for much more than it would fetch on the black market and often the painting or other art object has doubled its value during its storage.

  Criminal Penalties for Art Theft

  On both the national and international levels, there are few legal precedents and little legislation for dealing with art crime. For some reason, the penalties for art crime, especially in the United States, have been very light. Art and jewelry theft is close to a white collar crime, since no one was physically injured. Public opinion is ambivalent toward

  the matter because the general public doesn't have the means to deal in art, antique and jewelry collections, so, its theft does not affect them.

  If the theft involves two different countries, e.g., the thieves steal art from France and take it to Holland, Holland may decide not to investigate. In other words, what is unpardonable to one government may not even be criminal to another. Despite the ambiguous opinions some governments and police agencies have on this subject, there seems to be relative agreement on one point: theft and vandalism, no matter what the target, constitute a criminal act, but the penalties for art and jewelry thefts are usually very light.

  Conclusion

  Art crime is changing from a romantic Robin Hood affair, often committed with an artistic flair, to a cold and impersonal act committed purely for money and sometimes with violence. Professional thieves over the years have grown more ruthless as armed holdups in Montreal and some U.S. galleries, as well as raids in Paris, have proven. In fact, security guards, vaults and detection equipment seem to challenge the art thief.

  Art thieves have a vast and ever-growing territory, unlimited cultural treasures to steal, and an expandi
ng underground network to help them dispose of their loot. As more individuals and institutions place their wealth in art, thefts increase. Additionally, as museums proliferate throughout the United States and Europe, this decreases the amount of artwork available to the private collector. It is a simple case of supply and demand.

  Also remember when writing about art theft that the art market has always been international; art crime is now also becoming so. This lends some colorful characters of thieves, fences and purchasers for your novels. Should you be writing about an art theft, it can encompass the globe. The unique quality of the work makes the disposal of artwork the key to profitable criminal activity. Whereas diamonds, gold and other items can be re-cut, melted down or otherwise disguised without too much effect on their resale value, a painting or sculpture is unique. It cannot be altered and retain its original value.

  Unlike narcotics, which have to be traded in an illegal market, art has a legitimate market. The thief therefore has to find a means of disposing of his cache and of recirculating it in the legitimate market; once he has achieved this, he is safe, or as safe as he will ever be. The more valuable and well known the target, the greater the degree of risk and the more resourceful his plan of disposal must be. Smuggling objects to another country is one solution because this lessens or postpones the risk of the object's discovery and subsequent identification.

  No amount of security or vigilance can stop art thieves as long as prices soar, and masterpieces fetch fabulous sums of money. Even the most efficient art squad lags one step behind determined thieves. It seems that the people who are immersed in the collection of art, antiques and jewelry have themselves forced the price up and are paying for art theft. As for Mauro and me, we're keeping a closer watch on our collection of velvet Elvises!