In Bangor with Howie Carr: ARCA Trustee Anthony Amore Speaks About Art Crime

ARCA Trustee Anthony Amore, Director of Security at the Isabella Stewart Gardner Museum, joined syndicated talk show host and Boston Herald columnist Howie Carr in "An Evening of Crime" Friday night at Spectacular Event Center in Bangor (Dawn Gagnon, "Howie Carr sold-out Bangor show talks 'Whitey' Bulger, art thieves'", Bangor Daily News, August 17):

For the past seven years, Amore has also served as the museum’s chief investigator into the 1990 theft of 13 priceless works of art from the museum. 

Author of “Stealing Rembrandts: The Untold Stories of Notorious Art Heists” with investigative reporter Tom Mashberg, Amore discussed some of the most infamous art heists of the 20th century, involving works valued $1 billion in total. 

Chief among the heists involved one at the at the Isabella Stewart Gardner Museum, which alone resulted in the loss of $500 million worth in paintings, etching and other works that have yet to be recovered. 

In that case, two men posing as Boston police officers were buzzed into the museum on March 18, 1990, after saying they were responding to a disturbance. They handcuffed the two night guards who were on duty and took them into the basement, where they were secured to pipes and their hands, feet and heads were duct taped. 

Amore described how the thieves made off with priceless works like Rembrandt’s Storm on the Sea of Galilee, A Lady and Gentleman in Black and a Self Portrait, Vermeer’s The Concert and Edouard Manet’s Chez Tortoni, according to the museum’s website. 

Not all art thieves, however, were so clever. Amore also regaled the audience with stories of robbers with more bravado than brains — among them Myles Connor, a notorious Boston art thief who unwittingly tried to sell works by Andrew Wyeth and NC Wyeth to an undercover FBI agent. He and several accomplices stole the paintings — along with several other famous paintings — from the Woolworth Estate in Monmouth, Maine, in the early 1970s. 

“When you steal these highly recognizable paintings, there’s no market for them. There’s no one out there who’s going to buy a painting that everyone knows is stolen. Especially when, even if you’re paying pennies on the dollar, you’re paying millions of dollars. It doesn’t take a genius to figure out that people don’t spend lots of money on things they can never show anyone. 

“Myles found that out, he couldn’t find a buyer for these Wyeth paintings,” Amore said. “He looked and looked and looked and couldn’t find one. Then all of a sudden, he gets lucky and he comes across a guy named Bernie Murphy who wants to buy these paintings from him.” 

Murphy arranged to meet Connor in the parking lot of a Cape Cod IGA store to discuss a deal. 

“Myles is elated,” Amore said. “They go, they park next to each other, Myles opens his trunk and shows him the Wyeth paintings.” Unfortunately for Connor, the supposed buyer reaches into his pocket and pulls out his FBI badge.

ARCA Trustee Anthony Amore, Director of Security at the Isabella Stewart Gardner Museum, joined syndicated talk show host and Boston Herald columnist Howie Carr in "An Evening of Crime" Friday night at Spectacular Event Center in Bangor (Dawn Gagnon, "Howie Carr sold-out Bangor show talks 'Whitey' Bulger, art thieves'", Bangor Daily News, August 17):

For the past seven years, Amore has also served as the museum’s chief investigator into the 1990 theft of 13 priceless works of art from the museum. 

Author of “Stealing Rembrandts: The Untold Stories of Notorious Art Heists” with investigative reporter Tom Mashberg, Amore discussed some of the most infamous art heists of the 20th century, involving works valued $1 billion in total. 

Chief among the heists involved one at the at the Isabella Stewart Gardner Museum, which alone resulted in the loss of $500 million worth in paintings, etching and other works that have yet to be recovered. 

In that case, two men posing as Boston police officers were buzzed into the museum on March 18, 1990, after saying they were responding to a disturbance. They handcuffed the two night guards who were on duty and took them into the basement, where they were secured to pipes and their hands, feet and heads were duct taped. 

Amore described how the thieves made off with priceless works like Rembrandt’s Storm on the Sea of Galilee, A Lady and Gentleman in Black and a Self Portrait, Vermeer’s The Concert and Edouard Manet’s Chez Tortoni, according to the museum’s website. 

Not all art thieves, however, were so clever. Amore also regaled the audience with stories of robbers with more bravado than brains — among them Myles Connor, a notorious Boston art thief who unwittingly tried to sell works by Andrew Wyeth and NC Wyeth to an undercover FBI agent. He and several accomplices stole the paintings — along with several other famous paintings — from the Woolworth Estate in Monmouth, Maine, in the early 1970s. 

“When you steal these highly recognizable paintings, there’s no market for them. There’s no one out there who’s going to buy a painting that everyone knows is stolen. Especially when, even if you’re paying pennies on the dollar, you’re paying millions of dollars. It doesn’t take a genius to figure out that people don’t spend lots of money on things they can never show anyone. 

“Myles found that out, he couldn’t find a buyer for these Wyeth paintings,” Amore said. “He looked and looked and looked and couldn’t find one. Then all of a sudden, he gets lucky and he comes across a guy named Bernie Murphy who wants to buy these paintings from him.” 

Murphy arranged to meet Connor in the parking lot of a Cape Cod IGA store to discuss a deal. 

“Myles is elated,” Amore said. “They go, they park next to each other, Myles opens his trunk and shows him the Wyeth paintings.” Unfortunately for Connor, the supposed buyer reaches into his pocket and pulls out his FBI badge.

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Isabella Stewart Gardner Museum: How has the institution faired more than two decades after the theft? Former Undersecretary for Homeland Security Juliette Kayyman wrote about this last year

Here's an article overlooked by the ARCA Blog last year: In the Boston Globe, a former Undersecretary for Home Security, Juliette Kayyem, wrote in March 2012 of the "Gardner's narrative of resiliency" on the new addition to the institution:

In 1990, two thieves dressed as Boston police officers told the museum night guards on duty that they were responding to a call. The thieves passed the sole security door. There was just one alarm button at the time; only motion detectors traced their movements. There were no cameras. A mere 81 minutes later, they were in possession of the masterpieces worth, today, half a billion dollars. The investigation is ongoing. 

The new building could have been a fortress. But that would have made the theft the focal point of how we would perceive the museum. Instead, the colorless glass entry, the brick walls, even the enclosed corridor that passes from the new building through a grove of trees into Gardner’s historic courtyard serve as practical access controls. There are no doors for the public to the original Gardner mansion. A thief would now have to walk through a transparent glass tunnel, into the new building, and out a security door for the easiest exit. Though counterintuitive, its openness makes it more secure. 

While the museum is watched by hundreds of cameras, the new structure is designed to relieve some of the stress from Gardner’s old home by shifting the burdens of exit and entry to the much more modern and secure building. “There is simply no place in the museum where a thief can just grab art and get outside,’’ Anthony Amore, the head of museum security and author of “Stealing Rembrandts,’’ said.

Here's an article overlooked by the ARCA Blog last year: In the Boston Globe, a former Undersecretary for Home Security, Juliette Kayyem, wrote in March 2012 of the "Gardner's narrative of resiliency" on the new addition to the institution:

In 1990, two thieves dressed as Boston police officers told the museum night guards on duty that they were responding to a call. The thieves passed the sole security door. There was just one alarm button at the time; only motion detectors traced their movements. There were no cameras. A mere 81 minutes later, they were in possession of the masterpieces worth, today, half a billion dollars. The investigation is ongoing. 

The new building could have been a fortress. But that would have made the theft the focal point of how we would perceive the museum. Instead, the colorless glass entry, the brick walls, even the enclosed corridor that passes from the new building through a grove of trees into Gardner’s historic courtyard serve as practical access controls. There are no doors for the public to the original Gardner mansion. A thief would now have to walk through a transparent glass tunnel, into the new building, and out a security door for the easiest exit. Though counterintuitive, its openness makes it more secure. 

While the museum is watched by hundreds of cameras, the new structure is designed to relieve some of the stress from Gardner’s old home by shifting the burdens of exit and entry to the much more modern and secure building. “There is simply no place in the museum where a thief can just grab art and get outside,’’ Anthony Amore, the head of museum security and author of “Stealing Rembrandts,’’ said.

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The Gardner Heist: Journalist Tom Mashberg Weighs In

The FBI's press conference on the 23rd anniversary of the Gardner theft "was a hit, generating flashing Internet bulletins and global media coverage," wrote Tom Mashberg March 25 in "The Gardner Art Heist: The Thieves Who Couldn't Steal Straight" for Cognoscenti, Boston's NPR Radio Station.

Mashberg has covered the Isabella Stewart Gardner Museum case for 16 years. Of the FBI's press conference on March 18, 2013, Mashberg writes:

Since crowd-sourcing was the goal, the FBI should be pleased. But we didn't really learn anything new beyond the assertion that some of the stolen paintings made their way to Philadelphia a decade ago. I was invited to speak with investigators alone for a few minutes after the news conference. They are dedicated men to be sure, and they were candid: they told me that for now the train has "gone cold."

 It was attention grabbing to hear them say they know the identities of the thieves. (Keeping the names secret is wise from an investigative standpoint -- imagine the media swarm.) But any careful follower of the case can boil the list of likely robbers down to three men -- all Boston-area felons. My belief is that two of the thieves are dead, and the third is in prison. The dead men will tell no tales, but there is still a chance to squeeze the guy behind bars.

In this article, Mashberg proposes that the bank robber Robert F. Guarante (who died in 2004) took the art from the two original thieves who didn't know what to do with it.

A lot of these characters, chief among them a gangster named Carmello Merlino, also deceased, can be heard yapping on wiretaps about their plans to return the art for the $5 million reward money -- if only they could find it. It's the gang that couldn't steal straight.

Mashberg also proposes that it was Robert A. Donati (dead) who cased the Gardner Museum in the 1980s with art thief Myles J. Connor (in prison on the night of the Gardner Heist) who stole the fluted Chinese bronze beaker that night as a gift for Connor.

Mashberg, who co-write "Stealing Rembrandts" (2011) with Anthony M. Amore, states that "the crime was always a local job."

The FBI's press conference on the 23rd anniversary of the Gardner theft "was a hit, generating flashing Internet bulletins and global media coverage," wrote Tom Mashberg March 25 in "The Gardner Art Heist: The Thieves Who Couldn't Steal Straight" for Cognoscenti, Boston's NPR Radio Station.

Mashberg has covered the Isabella Stewart Gardner Museum case for 16 years. Of the FBI's press conference on March 18, 2013, Mashberg writes:

Since crowd-sourcing was the goal, the FBI should be pleased. But we didn't really learn anything new beyond the assertion that some of the stolen paintings made their way to Philadelphia a decade ago. I was invited to speak with investigators alone for a few minutes after the news conference. They are dedicated men to be sure, and they were candid: they told me that for now the train has "gone cold."

 It was attention grabbing to hear them say they know the identities of the thieves. (Keeping the names secret is wise from an investigative standpoint -- imagine the media swarm.) But any careful follower of the case can boil the list of likely robbers down to three men -- all Boston-area felons. My belief is that two of the thieves are dead, and the third is in prison. The dead men will tell no tales, but there is still a chance to squeeze the guy behind bars.

In this article, Mashberg proposes that the bank robber Robert F. Guarante (who died in 2004) took the art from the two original thieves who didn't know what to do with it.

A lot of these characters, chief among them a gangster named Carmello Merlino, also deceased, can be heard yapping on wiretaps about their plans to return the art for the $5 million reward money -- if only they could find it. It's the gang that couldn't steal straight.

Mashberg also proposes that it was Robert A. Donati (dead) who cased the Gardner Museum in the 1980s with art thief Myles J. Connor (in prison on the night of the Gardner Heist) who stole the fluted Chinese bronze beaker that night as a gift for Connor.

Mashberg, who co-write "Stealing Rembrandts" (2011) with Anthony M. Amore, states that "the crime was always a local job."

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Gardner Heist: Night watchmen Rick Abath Gives Exclusive Television Interview to Randi Kaye in "81 Minutes Inside: The Greatest Art Heist in History" which aired on Anderson Cooper 360 on March 22

Rick Abath, one of the nightwatch men on duty March 18 when two men stole 13 paintings from the Isabella Stewart Gardner Museum in Boston, gave his first television interview to Randi Kaye for her story "81 Minutes Inside: The Greatest Art Heist In History" which aired on Anderson Cooper 360 CNN on March 22.

Rick Abath, who had working at the museum for about a year, began his night shift at 11.30 p.m. He explained that guards took turns walking through the museum and manning the security desk next to the employee entrance. On the night of the theft, Abath's "usual partner had called in sick" "so they paired him with a daytime gallery guard".

Ms. Kaye narrates:

Abath takes the first round which takes longer than usual. The fire alarm goes off for no apparent reason -- so does another alarm on the fourth floor. Then the other gallery guard does the round. It is 1.24 a.m. and Rick is alone at the guard desk. Two men dressed as Boston police officers buzz the side entrance and tell Abath that they are there because there's been a disturbance on the property.

Anthony Amore, Director of Security for the Isabella Stewart Gardner, explains to Ms. Kaye that it was against museum policy for the nightwatchman to let anyone into the museum.

While Abath concedes that this may have been the written policy, Abath says that the "culture" was to let museum employees in at night "at least once a month", including the director of the museum. "So it wasn't unusual for Rick to hear that buzzer go off," Ms. Kaye narrates.

Rick Abath explains that he had no reason to believe the men were not police officers until it was too late to reach the panic button.

The panic button on the guard's desk was not easy to reach. "It was the same kind of panic button at a bank or something," Rick Abath said. "It was up on the underside of the desk. But it was a fairly long desk and the computer that you had to be at to do your job was all the way to your left and it was all the way to the right so it just wasn't within arms reach."

Rick Abath, one of the nightwatch men on duty March 18 when two men stole 13 paintings from the Isabella Stewart Gardner Museum in Boston, gave his first television interview to Randi Kaye for her story "81 Minutes Inside: The Greatest Art Heist In History" which aired on Anderson Cooper 360 CNN on March 22.

Rick Abath, who had working at the museum for about a year, began his night shift at 11.30 p.m. He explained that guards took turns walking through the museum and manning the security desk next to the employee entrance. On the night of the theft, Abath's "usual partner had called in sick" "so they paired him with a daytime gallery guard".

Ms. Kaye narrates:

Abath takes the first round which takes longer than usual. The fire alarm goes off for no apparent reason -- so does another alarm on the fourth floor. Then the other gallery guard does the round. It is 1.24 a.m. and Rick is alone at the guard desk. Two men dressed as Boston police officers buzz the side entrance and tell Abath that they are there because there's been a disturbance on the property.

Anthony Amore, Director of Security for the Isabella Stewart Gardner, explains to Ms. Kaye that it was against museum policy for the nightwatchman to let anyone into the museum.

While Abath concedes that this may have been the written policy, Abath says that the "culture" was to let museum employees in at night "at least once a month", including the director of the museum. "So it wasn't unusual for Rick to hear that buzzer go off," Ms. Kaye narrates.

Rick Abath explains that he had no reason to believe the men were not police officers until it was too late to reach the panic button.

The panic button on the guard's desk was not easy to reach. "It was the same kind of panic button at a bank or something," Rick Abath said. "It was up on the underside of the desk. But it was a fairly long desk and the computer that you had to be at to do your job was all the way to your left and it was all the way to the right so it just wasn't within arms reach."

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Anderson Cooper 360 Features Documentary on Gardner Art Heist

Tonight Anderson Cooper 360 features a documentary, "81 minutes: Inside the Greatest Art Heist in History" at 10 p.m. ET (US). The show claims an exclusive television interview with Richard Abath, the night watchman who admits he was the guard on duty who "buzzed in" the two thieves disguised as police officers.

The segment also includes Anthony Amore, Security Director of the ISGM, walking journalist Randi Kaye through the known events of the 1990 theft in the early morning hours of March 18.

Tonight Anderson Cooper 360 features a documentary, "81 minutes: Inside the Greatest Art Heist in History" at 10 p.m. ET (US). The show claims an exclusive television interview with Richard Abath, the night watchman who admits he was the guard on duty who "buzzed in" the two thieves disguised as police officers.

The segment also includes Anthony Amore, Security Director of the ISGM, walking journalist Randi Kaye through the known events of the 1990 theft in the early morning hours of March 18.

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Boston Globe: Tip to Authorities in 2010 Led to Turning Point in Gardner Heist Investigation

Boston Globe: Photo by Steven Senne/AP at FBI conference

The Boston Globe reports that a 2010 tip to authorities led to the identity of the two men who robbed the Isabella Stewart Gardner Museum in 1990, according to today's article "Tips pour in on Gardner Museum art theft" by Milton J. Valencia, Shelley Murphy, and Stephen Kurkjian.

The FBI and the Isabella Stewart Gardner Museum ­received a flood of tips from around the country Tuesday, as new details emerged about the turning point in the investigation of the notorious Gardner Museum heist 23 years ago. 

The latest, exhaustive phase in the inquiry is based on a tip that a caller made to authorities in 2010, according to Anthony Amore, the Gardner Museum’s head of security and chief investigator. 

He said Tuesday that the tip was so fruitful — leading to the announcement that investigators know the identities of the thieves and could trace the art from Boston to Connecticut and Philadelphia — that the FBI has since rededicated significant resources to investigating the heist. 

“That tip, plus thousands of man-hours, led to where we are today,” Amore said.

The Boston Globe article also comes back to Robert Gentile as a suspect:

The latest focus has been on Robert Gentile, a 75-year-old ailing Mafia figure with ties to organized crime in Philadelphia and Boston. His Connecticut home was searched last year in relation to the heist. He was charged with drug dealing and possession of an illegal firearm in what his lawyer called a tactic by the FBI to pressure him to disclose information about the heist. 

Gentile, who pleaded guilty and is slated to be sentenced in May, faces a lengthy prison term. His lawyer, Ryan McGuigan, has maintained that Gentile knows nothing about the heist or the whereabouts of the artwork. 

But investigators seem to have trained their focus on Gentile in the recent phase of the investigation. 

A person with knowledge of the FBI investigation, who asked to remain anonymous ­because of the sensitivity of the inquiry, confirmed Tuesday that investigators found a list of the art stolen from the Gardner, and the estimated value of the works, during the search of Gentile’s home. The discovery of the list was first ­reported by The Hartford ­Courant. 

Gentile also had close ties to organized crime figures in Philadelphia and in Boston, including the late Robert Guarente, who has been tied to almost every­one mentioned as a person of interest in the heist. 

Guarente, for instance, was close with the late Carmello Merlino, who ran an auto body shop in Dorchester and who, according to FBI reports, once tried to negotiate the return of the artworks. No deal ever came to fruition, and Merlino was later convicted in a scheme to rob an armored car depot in Easton. He said that he was set up by informants and that the FBI was pressuring him for ­information regarding the Gardner heist. Merlino died in prison in 2005 at age 71. 

Two other men were also convicted in the armored car depot scheme and received lengthy prison sentences, though they have denied knowledge of the heist or the ­location of the artwork. ­Stephen Rossetti, 54, who is Guarente’s nephew, is slated to be released in 2044, and David Turner, 45, is set to be released in 2025. 

Guarente died in 2004 at age 65. His wife has told authorities in recent years that she saw him give Gentile at least one painting some time around 2003, around the time authorities say some of the art was offered for sale in Philadelphia. The wife, however, did not describe the painting as one of the works taken from the Gardner.

Boston Globe: Photo by Steven Senne/AP at FBI conference

The Boston Globe reports that a 2010 tip to authorities led to the identity of the two men who robbed the Isabella Stewart Gardner Museum in 1990, according to today's article "Tips pour in on Gardner Museum art theft" by Milton J. Valencia, Shelley Murphy, and Stephen Kurkjian.

The FBI and the Isabella Stewart Gardner Museum ­received a flood of tips from around the country Tuesday, as new details emerged about the turning point in the investigation of the notorious Gardner Museum heist 23 years ago. 

The latest, exhaustive phase in the inquiry is based on a tip that a caller made to authorities in 2010, according to Anthony Amore, the Gardner Museum’s head of security and chief investigator. 

He said Tuesday that the tip was so fruitful — leading to the announcement that investigators know the identities of the thieves and could trace the art from Boston to Connecticut and Philadelphia — that the FBI has since rededicated significant resources to investigating the heist. 

“That tip, plus thousands of man-hours, led to where we are today,” Amore said.

The Boston Globe article also comes back to Robert Gentile as a suspect:

The latest focus has been on Robert Gentile, a 75-year-old ailing Mafia figure with ties to organized crime in Philadelphia and Boston. His Connecticut home was searched last year in relation to the heist. He was charged with drug dealing and possession of an illegal firearm in what his lawyer called a tactic by the FBI to pressure him to disclose information about the heist. 

Gentile, who pleaded guilty and is slated to be sentenced in May, faces a lengthy prison term. His lawyer, Ryan McGuigan, has maintained that Gentile knows nothing about the heist or the whereabouts of the artwork. 

But investigators seem to have trained their focus on Gentile in the recent phase of the investigation. 

A person with knowledge of the FBI investigation, who asked to remain anonymous ­because of the sensitivity of the inquiry, confirmed Tuesday that investigators found a list of the art stolen from the Gardner, and the estimated value of the works, during the search of Gentile’s home. The discovery of the list was first ­reported by The Hartford ­Courant. 

Gentile also had close ties to organized crime figures in Philadelphia and in Boston, including the late Robert Guarente, who has been tied to almost every­one mentioned as a person of interest in the heist. 

Guarente, for instance, was close with the late Carmello Merlino, who ran an auto body shop in Dorchester and who, according to FBI reports, once tried to negotiate the return of the artworks. No deal ever came to fruition, and Merlino was later convicted in a scheme to rob an armored car depot in Easton. He said that he was set up by informants and that the FBI was pressuring him for ­information regarding the Gardner heist. Merlino died in prison in 2005 at age 71. 

Two other men were also convicted in the armored car depot scheme and received lengthy prison sentences, though they have denied knowledge of the heist or the ­location of the artwork. ­Stephen Rossetti, 54, who is Guarente’s nephew, is slated to be released in 2044, and David Turner, 45, is set to be released in 2025. 

Guarente died in 2004 at age 65. His wife has told authorities in recent years that she saw him give Gentile at least one painting some time around 2003, around the time authorities say some of the art was offered for sale in Philadelphia. The wife, however, did not describe the painting as one of the works taken from the Gardner.

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ISGM Security Director Anthony Amore Calls Hunt for Stolen Gardner Paintings "an exercise in finding 13 needles in a haystack by making the haystack smaller"

FBI: An empty frame in the Dutch Room of the ISGM

by Catherine Sezgin, ARCA Blog Editor

The FBI and the Isabella Stewart Gardner Museum have offered a $5 million reward for information leading to the return of the paintings.

The day after the FBI announced that they have identified the thieves responsible for the 1990 art heist, ARCA Trustee Anthony Amore, Director of Security for the Gardner Museum, told the ARCA Blog:

"As I have said many times in the past, this investigation is an excuse in finding 13 needles in a haystack by making the haystack smaller. The information we provided at the press conference shows that we continue this work, and that the haystack is smaller than ever."

The Isabella Stewart Gardner Museum and the U. S. Attorney's Office in Massachusetts continue to work on this investigation with the FBI.

You may find more information here on the FBI's website.

And here's a link to an article in Harvard Magazine featuring Anthony Amore.

FBI: An empty frame in the Dutch Room of the ISGM

by Catherine Sezgin, ARCA Blog Editor

The FBI and the Isabella Stewart Gardner Museum have offered a $5 million reward for information leading to the return of the paintings.

The day after the FBI announced that they have identified the thieves responsible for the 1990 art heist, ARCA Trustee Anthony Amore, Director of Security for the Gardner Museum, told the ARCA Blog:

"As I have said many times in the past, this investigation is an excuse in finding 13 needles in a haystack by making the haystack smaller. The information we provided at the press conference shows that we continue this work, and that the haystack is smaller than ever."

The Isabella Stewart Gardner Museum and the U. S. Attorney's Office in Massachusetts continue to work on this investigation with the FBI.

You may find more information here on the FBI's website.

And here's a link to an article in Harvard Magazine featuring Anthony Amore.

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The Great Gardner Heist: 2010 Interview by "On Point" Tom Ashbrook

On the 20th anniversary of the theft of the ISGM, NPR's "On Point" Tom Ashbrook interviewed Anne Hawley, Director of the Isabella Stewart Gardner Museum, and Anthony Amore, Director of Security. Amore, an ARCA Trustee, takes Ashbrook down to the basement to where the  museum's two security guards were handcuffed and duct-taped during the robbery.

On the 20th anniversary of the theft of the ISGM, NPR's "On Point" Tom Ashbrook interviewed Anne Hawley, Director of the Isabella Stewart Gardner Museum, and Anthony Amore, Director of Security. Amore, an ARCA Trustee, takes Ashbrook down to the basement to where the  museum's two security guards were handcuffed and duct-taped during the robbery.

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Rotterdam Art Heist: ARCA in the Media

Here's a few links to ARCA associates recently published in the media:

In Noah Charney's "Secret History of Art" column for artinfo.com, the founder of ARCA writes on "Rotterdam Art Heist Likely for Ransom".

In The New York Times, ARCA Trustee Anthony Amore, Security Director for The Isabella Stewart Gardner Museum, writes as an Op-Ed Contributor about "Debunking the Myth of Glamorous Art Thieves" in "No 'Thomas Crown Affair'".

Niels Rigter of Metro published an article online here (in Dutch, loosely translated into English) quotes ARCA's CEO Lynda Albertson (also pictured) about the difficultly of selling stolen art.

Bloomberg's Catherine Hickley article, "Art Thieves Struggle to Convert Monet, Picasso Into Cash", includes an interview with ARCA CEO Lynda Albertson.

ARCA Instructor Tom Flynn's blog "artknows" in "Will we never learn from art theft? Value is in the eye of the beholder" points out that  stealing art is done for all sorts of reasons -- especially if the paintings are displayed in buildings that are "woefully deficient in security"as pointed out by Dutch security consultant Ton Cremers.

In Illicit Cultural Property, the blog by ARCA Academic Director Derek Fincham, comments by Anthony Amore, Chris Marinello of the Art Loss Register, and retired FBI agent Bob Wittman are highlighted.

Here's a few links to ARCA associates recently published in the media:

In Noah Charney's "Secret History of Art" column for artinfo.com, the founder of ARCA writes on "Rotterdam Art Heist Likely for Ransom".

In The New York Times, ARCA Trustee Anthony Amore, Security Director for The Isabella Stewart Gardner Museum, writes as an Op-Ed Contributor about "Debunking the Myth of Glamorous Art Thieves" in "No 'Thomas Crown Affair'".

Niels Rigter of Metro published an article online here (in Dutch, loosely translated into English) quotes ARCA's CEO Lynda Albertson (also pictured) about the difficultly of selling stolen art.

Bloomberg's Catherine Hickley article, "Art Thieves Struggle to Convert Monet, Picasso Into Cash", includes an interview with ARCA CEO Lynda Albertson.

ARCA Instructor Tom Flynn's blog "artknows" in "Will we never learn from art theft? Value is in the eye of the beholder" points out that  stealing art is done for all sorts of reasons -- especially if the paintings are displayed in buildings that are "woefully deficient in security"as pointed out by Dutch security consultant Ton Cremers.

In Illicit Cultural Property, the blog by ARCA Academic Director Derek Fincham, comments by Anthony Amore, Chris Marinello of the Art Loss Register, and retired FBI agent Bob Wittman are highlighted.

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Anthony Amore Discussing "Stealing Rembrandts" on "It's a Crime" Saturday afternoon on the radio

Anthony Amore, Security Director of the Isabella Stewart Gardner Museum and co-author of "Stealing Rembrandts: The Untold Stories of Notorious Art Heists", will be on "It's a Crime" on Saturday, June 30, at 1:00 p.m. The live radio show is hosted by Margaret McLean, an attorney and author of the legal thriller Under Fire (2011, Tor Forge McMillan). Here's a link to the program. "Stealing Rembrandts", written by Amore and journalist Tom Mashberg, will be released in paperback on July 3.

Anthony Amore, Security Director of the Isabella Stewart Gardner Museum and co-author of "Stealing Rembrandts: The Untold Stories of Notorious Art Heists", will be on "It's a Crime" on Saturday, June 30, at 1:00 p.m. The live radio show is hosted by Margaret McLean, an attorney and author of the legal thriller Under Fire (2011, Tor Forge McMillan). Here's a link to the program. "Stealing Rembrandts", written by Amore and journalist Tom Mashberg, will be released in paperback on July 3.

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ARCA Founder Noah Charney and ISGM's Security Director Anthony Amore Talk about the largest art theft in US history and the hunt for the paintings 22 years later; NBC's "American Greed" to feature Gardner Museum Heist Tonight

Vermeer's "The Concert"

CNBC's Lindsay Nadrich (with Reuters contributing) writes about the 1990 robbery of the Isabella Stewart Gardner Museum online "22 Years Later, $300 Million Art Theft Investigation Heats Up."

Last week's search of the Connecticut home of an alleged Mafia member, 75-year-old Robert Gentile, with a ground-penetrating radar device found two guns but no artworks.

Noah Charney, Founder of ARCA, is quoted here.

"Vermeer's "The Concert" is probably the single-most valuable missing artwork today," art crime expert Noah Charney said.

Anthony Amore, author of Stealing Rembrandts and an instructor at the ARCA program in 2009, issued a statement to CNBC:

"While the Museum continues to thrive, the investigation into the 1990 theft remains very active," Anthony Amore, the Gardner's security director, said in a statement, "We will continue to work every day to recover the stolen masterworks.

To hear the full story of the Gardner Museum Heist, watch "American Greed" Wednesday at 10 p.m. ET/PT on CNBC (in the United States).

Vermeer's "The Concert"

CNBC's Lindsay Nadrich (with Reuters contributing) writes about the 1990 robbery of the Isabella Stewart Gardner Museum online "22 Years Later, $300 Million Art Theft Investigation Heats Up."

Last week's search of the Connecticut home of an alleged Mafia member, 75-year-old Robert Gentile, with a ground-penetrating radar device found two guns but no artworks.

Noah Charney, Founder of ARCA, is quoted here.

"Vermeer's "The Concert" is probably the single-most valuable missing artwork today," art crime expert Noah Charney said.

Anthony Amore, author of Stealing Rembrandts and an instructor at the ARCA program in 2009, issued a statement to CNBC:

"While the Museum continues to thrive, the investigation into the 1990 theft remains very active," Anthony Amore, the Gardner's security director, said in a statement, "We will continue to work every day to recover the stolen masterworks.

To hear the full story of the Gardner Museum Heist, watch "American Greed" Wednesday at 10 p.m. ET/PT on CNBC (in the United States).

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St. Patrick's Day Celebrations Provided Distraction for the Robbery of the Isabella Stewart Gardner Museum in 1990

Rembrandt's The Storm on the
 Sea of Galilee is his only seascape.

by Catherine Sezgin, ARCABlog Editor

The Boston Globe highlighted the 15th anniversary.  PBS News hour noted the 20th anniversary (along with numerous other media outlets). Anthony Amore, the security director of the Isabella Stewart Gardner Museum, has his contact information plastered on the museum's website to collect the lastest leads on the masterpieces stolen from Boston on St. Patrick's Day weekend in 1990.  Despite all these efforts and a $5 million reward for information leading to the recovery of stolen paintings by such recognizable artists as Rembrant and Vermeer, empty frames continue to save the spaces on the walls from where these masterpieces were hung by their benefactor.

In 2009, Ulrich Boster published a book, The Gardner Heist: The True Story of the World's Largest Art Theft and a year later the Federal Bureau of Investigation used billboards to get the public to help solve the mystery of the largest art theft in American history.  The thieves removed works of art highlighted by Vermeer's The Concert; Rembrandt's A Lady and Gentleman in Black; Rembrant's The Storm on the Sea of Galilee; Rembrandt's Self-Portrait; and Govaert Flinck's Landscape with Obelisk, and Manet's Chez Tortoni. You may view the images of the missing art on the website of Stolen the Film, Rebecca Dreyfus' documentary highlighting art detective Harold Smith's efforts and obsession to find the paintings.

Just after midnight, St. Patrick's Day celebrations in America's most Irish of cities provided cover for two unarmed men to enter the Isabella Stewart Gardner museum dressed as police officers and to leave 90 minutes later with 13 stolen items worth more than $300 million.  Unconditional immunity offered to anyone who helps locate or recover these paintings.

Rembrandt's The Storm on the
 Sea of Galilee is his only seascape.

by Catherine Sezgin, ARCABlog Editor

The Boston Globe highlighted the 15th anniversary.  PBS News hour noted the 20th anniversary (along with numerous other media outlets). Anthony Amore, the security director of the Isabella Stewart Gardner Museum, has his contact information plastered on the museum's website to collect the lastest leads on the masterpieces stolen from Boston on St. Patrick's Day weekend in 1990.  Despite all these efforts and a $5 million reward for information leading to the recovery of stolen paintings by such recognizable artists as Rembrant and Vermeer, empty frames continue to save the spaces on the walls from where these masterpieces were hung by their benefactor.

In 2009, Ulrich Boster published a book, The Gardner Heist: The True Story of the World's Largest Art Theft and a year later the Federal Bureau of Investigation used billboards to get the public to help solve the mystery of the largest art theft in American history.  The thieves removed works of art highlighted by Vermeer's The Concert; Rembrandt's A Lady and Gentleman in Black; Rembrant's The Storm on the Sea of Galilee; Rembrandt's Self-Portrait; and Govaert Flinck's Landscape with Obelisk, and Manet's Chez Tortoni. You may view the images of the missing art on the website of Stolen the Film, Rebecca Dreyfus' documentary highlighting art detective Harold Smith's efforts and obsession to find the paintings.

Just after midnight, St. Patrick's Day celebrations in America's most Irish of cities provided cover for two unarmed men to enter the Isabella Stewart Gardner museum dressed as police officers and to leave 90 minutes later with 13 stolen items worth more than $300 million.  Unconditional immunity offered to anyone who helps locate or recover these paintings.

reade more... Résuméabuiyad