Author Barry Lancet introduces Jim Brodie, antique dealer, as protagonist in debut thriller JAPANTOWN

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

Author Barry Lancet features a San Francisco antique dealer in Japantown: A Thriller who consults for the police in regards to evidence related to Japanese art and culture. Here's a link to a book review by Steve Sacks for the Washington Independent Review of Books. Between speaking engagements in California, Mr. Lancet spoke to the ARCA blog via email:

Why did you choose an antique dealer as your protagonists' profession?

So that I could talk about the high culture as well as the low points required of the genre. I much prefer the culture, which includes art, but you don't have a mystery/thriller without the low. Very few have both. 

JAPANTOWN and the Jim Brodie series will always have an art theme running through them either as a plot or subplot, or as background.  In JAPANTOWN, as you'll see, art provides color and culture and character, and sometimes provides clues or insights into character.  And then there's the calligraphy, but I'll leave it there to prevent spoilers.

In the books to follow in this series, will there be any art crimes -- thefts, forgeries or even smuggling?

Book 2 also has an art theme woven into the story, and so will the next book. In Jim Brodie's second outing, there are plenty of art crimes -- theft, a long-lost treasure (that is controversial but said to exist by some), an illegal art auction, an actual art object used for very unpleasant political purposes, and more.

Will art historians, art lovers, and collectors learn a lot about Japanese art from your book? Do you strive for authenticity? 

Without a doubt. One of my goals is to pass on some Japanese culture and history with each book, and much of that comes in the form of Japanese art. 

As a book editor for over two decades--and many of them art books--I'm very careful about how I present the culture and the art, and it's all authentic (unless I need to invent something for the story). I've got an About Authenticity section at the end of the book so readers can tell exactly what is accurate in regards to the art, history, culture, and so on.

Mr. Lancet will be speaking at the Northridge branch of the Los Angeles Library on November 2.

Here are a few interviews: NPR / CPR (Capitol Public Radio)interview with Beth Ruyak of INSIGHT (4^th button); Out of Ink.  “From the US toJapan and back again – an interview with Barry Lancet”; and “5-in-5: Barry Lancet” by J. Daniel Parra  (Pieces of Tracy).

A wonderful contemporary Japanese tea bowl.  Jim Brodie, the art-dealer protagonist of JAPANTOWN, is working on just such a repair when he receives an urgent phone call from the SFPD.  For more Japanese pieces featured in the book see “Brodie’s Antiques” in the “Japan & More” section of the author’s website (click on the images to enlarge).  Iga tea bowl, with "half moon" gold repair by Shiro Tsujimura (b. 1947– ).

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

Author Barry Lancet features a San Francisco antique dealer in Japantown: A Thriller who consults for the police in regards to evidence related to Japanese art and culture. Here's a link to a book review by Steve Sacks for the Washington Independent Review of Books. Between speaking engagements in California, Mr. Lancet spoke to the ARCA blog via email:

Why did you choose an antique dealer as your protagonists' profession?

So that I could talk about the high culture as well as the low points required of the genre. I much prefer the culture, which includes art, but you don't have a mystery/thriller without the low. Very few have both. 

JAPANTOWN and the Jim Brodie series will always have an art theme running through them either as a plot or subplot, or as background.  In JAPANTOWN, as you'll see, art provides color and culture and character, and sometimes provides clues or insights into character.  And then there's the calligraphy, but I'll leave it there to prevent spoilers.

In the books to follow in this series, will there be any art crimes -- thefts, forgeries or even smuggling?

Book 2 also has an art theme woven into the story, and so will the next book. In Jim Brodie's second outing, there are plenty of art crimes -- theft, a long-lost treasure (that is controversial but said to exist by some), an illegal art auction, an actual art object used for very unpleasant political purposes, and more.

Will art historians, art lovers, and collectors learn a lot about Japanese art from your book? Do you strive for authenticity? 

Without a doubt. One of my goals is to pass on some Japanese culture and history with each book, and much of that comes in the form of Japanese art. 

As a book editor for over two decades--and many of them art books--I'm very careful about how I present the culture and the art, and it's all authentic (unless I need to invent something for the story). I've got an About Authenticity section at the end of the book so readers can tell exactly what is accurate in regards to the art, history, culture, and so on.

Mr. Lancet will be speaking at the Northridge branch of the Los Angeles Library on November 2.

Here are a few interviews: NPR / CPR (Capitol Public Radio)interview with Beth Ruyak of INSIGHT (4^th button); Out of Ink.  “From the US toJapan and back again – an interview with Barry Lancet”; and “5-in-5: Barry Lancet” by J. Daniel Parra  (Pieces of Tracy).

A wonderful contemporary Japanese tea bowl.  Jim Brodie, the art-dealer protagonist of JAPANTOWN, is working on just such a repair when he receives an urgent phone call from the SFPD.  For more Japanese pieces featured in the book see “Brodie’s Antiques” in the “Japan & More” section of the author’s website (click on the images to enlarge).  Iga tea bowl, with "half moon" gold repair by Shiro Tsujimura (b. 1947– ).

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Review of theater screening of "Pompeii from the British Museum": expert guides provide insight to exhibit

by Eleanor Edwards, Special Contributor

Last night, September 25, theaters all around the United States screened "Pompeii from the British Museum", an 'exclusive private view of a major exhibition'. The show was excellent and in many ways better than the “in person” experience.

This special screening did not include the shoulder to shoulder crowd experience of visiting the British Museum in person. Instead the audience was shown around the empty exhibit space by leading experts in various fields related to the study of the Roman Empire.

The exhibit emphasizes the people of Pompeii and Herculaneum. The objects exhibited are meant to evoke an appreciation of both the ordinary working people and the more privileged. What did these people think about, how did they get ready for the day, what did they eat, how did they pass their leisure hours, how did they live in their houses? The exhibit itself is laid out like a typical home of a more privileged Pompeiian.

The introduction to the exhibit was made by Neil MacGregor, the Director of the British Museum, who pointed out the interesting motif of the dog that runs throughout the exhibit and serves as a common reference between the viewer and the residents of this ill-fated household.

Mary Beard, Classicist from Cambridge, took us around the the cubiculum (bedroom) and discussed the more intimate thoughts, dreams and desires of the residents. This provided a brief look into the possible ways of looking at particular objects of art displayed in the home (much made of the propensity for “willy waving” among the men of the time). But what Professor Beard brought to this experience was her unbridled enthusiasm and excitement for the subject. It was great fun to look at the exhibit with her.

At the British Museum in August, I found it was almost impossible to see and take in the relevance of each object so one tact was to choose a few favorites to swoop in on when there was a break in the crowd. For me those were the kitchen items. This behind the scenes presentation certainly added to my previous enjoyment of those objects when taken around by the Italian chef Giorgio Locatelli. We could really appreciate the beauty of everyday objects like a colander and the ferocity of the dormouse, a favorite delicacy.

One area that I completely missed was the display of items found in the drains of Herculaneum. Being show these items by the resident drains expert, Professor Andrew Wallace-Hadrill, brought real immediacy to what had been an overlooked display. He also brought up the controversial question regarding the continued excavation of the site versus the view that, for now, the focus should be the conservation of what has been already uncovered.

In 90 minutes, through both reenactments and expert analysis, Pompeii from the British Museum provided an engaging look at this exhibit. While not every item is examined, and a few favorites are notably missing, this event is well worth attending whether of not you have been to the British Museum exhibit.

The British Museum also has an application for iPhones and iPads, Life and Death in Pompeii and Herculaneum. Here's a link to the museum's exhibit which closes on September 29.

Fathom Events will show "Vermeer and Music" at theaters on October 10, 2013.

by Eleanor Edwards, Special Contributor

Last night, September 25, theaters all around the United States screened "Pompeii from the British Museum", an 'exclusive private view of a major exhibition'. The show was excellent and in many ways better than the “in person” experience.

This special screening did not include the shoulder to shoulder crowd experience of visiting the British Museum in person. Instead the audience was shown around the empty exhibit space by leading experts in various fields related to the study of the Roman Empire.

The exhibit emphasizes the people of Pompeii and Herculaneum. The objects exhibited are meant to evoke an appreciation of both the ordinary working people and the more privileged. What did these people think about, how did they get ready for the day, what did they eat, how did they pass their leisure hours, how did they live in their houses? The exhibit itself is laid out like a typical home of a more privileged Pompeiian.

The introduction to the exhibit was made by Neil MacGregor, the Director of the British Museum, who pointed out the interesting motif of the dog that runs throughout the exhibit and serves as a common reference between the viewer and the residents of this ill-fated household.

Mary Beard, Classicist from Cambridge, took us around the the cubiculum (bedroom) and discussed the more intimate thoughts, dreams and desires of the residents. This provided a brief look into the possible ways of looking at particular objects of art displayed in the home (much made of the propensity for “willy waving” among the men of the time). But what Professor Beard brought to this experience was her unbridled enthusiasm and excitement for the subject. It was great fun to look at the exhibit with her.

At the British Museum in August, I found it was almost impossible to see and take in the relevance of each object so one tact was to choose a few favorites to swoop in on when there was a break in the crowd. For me those were the kitchen items. This behind the scenes presentation certainly added to my previous enjoyment of those objects when taken around by the Italian chef Giorgio Locatelli. We could really appreciate the beauty of everyday objects like a colander and the ferocity of the dormouse, a favorite delicacy.

One area that I completely missed was the display of items found in the drains of Herculaneum. Being show these items by the resident drains expert, Professor Andrew Wallace-Hadrill, brought real immediacy to what had been an overlooked display. He also brought up the controversial question regarding the continued excavation of the site versus the view that, for now, the focus should be the conservation of what has been already uncovered.

In 90 minutes, through both reenactments and expert analysis, Pompeii from the British Museum provided an engaging look at this exhibit. While not every item is examined, and a few favorites are notably missing, this event is well worth attending whether of not you have been to the British Museum exhibit.

The British Museum also has an application for iPhones and iPads, Life and Death in Pompeii and Herculaneum. Here's a link to the museum's exhibit which closes on September 29.

Fathom Events will show "Vermeer and Music" at theaters on October 10, 2013.

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Fathom Events Presents "Pompeii from the British Museum" in US Theaters Tonight Only

"Pompeii from the British Museum" will be screened in dozens of theaters throughout the United States tonight. Here's a link to Fathom Events to purchase tickets. The British Museum produced this film about their exhibit, "Life and Death in Pompeii and Herculaneum" (closing September 29). Here's a link to the worldwide listings of this event.

"Pompeii from the British Museum" will be screened in dozens of theaters throughout the United States tonight. Here's a link to Fathom Events to purchase tickets. The British Museum produced this film about their exhibit, "Life and Death in Pompeii and Herculaneum" (closing September 29). Here's a link to the worldwide listings of this event.

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Daniel Silva Launches "English Girl" Featuring Art Restorer Gabriel Allon at the Sixth & I Historic Synagogue

by Tanya K. Lervik, ARCA Alum

WASHINGTON, D.C. - Wednesday night, New York Times bestselling author Daniel Silva endured lighthearted ribbing and a gentle grilling by his wife, veteran journalist Jamie Gangel at the Sixth & I Historic Synagogue.  The event celebrated the launch of Silva's latest novel, "The English Girl."  The hero of Silva's series, Gabriel Allon, an art restorer turned Mossad covert agent, is drawn once again into a complex adventure - this time an attempt to rescue the kidnapped secret mistress of the British Prime Minister.  The packed audience welcomed several prominent guests including the Israeli Ambassador Michael Oren; Newt and Callista Gingrich; and celebrated CNN  journalist Bernard Shaw.

Daniel Silva explained how his background as a journalist, first at UPI, and then as a writer at CNN helped prepare him to create his popular series of novels.  One audience member asked about how he dealt with "writer's block".  Mr. Silva replied that, though he might not always be pleased with his writing, he does not have difficulty in writing the 1000 words per day required to complete a novel.  He credits his time as a reporter with that discipline because there was no time for hesitation.  Stories had to be written to a tight deadline.

Interestingly, Daniel Silva described how his main character, Gabriel Allon, was never meant to be the main focus of his first book.  Mr. Silva does not outline his novels in advance, and they evolve as he writes. He described the character as "just taking over" as he wrote, which is fortunate for his fans now enjoying the thirteenth installment in the series.

Research plays an important role in the process, according to Daniel Silva, including library research, expert interviews, and travel.  One memorable experience Mr. Silva described was visiting with the Vatican's expert restorers.  By chance, as he walked through the workshop, he noticed an unfinished work by Leonardo da Vinci, unframed and awaiting repairs.  Astonished, Silva was treated to an up close inspection of the masterpiece by the Vatican specialist.

He said the idea for this current book coalesced as he was standing in St. Peter's in Rome.   As he stood there, he kept hearing a piece of scripture resonating in his head, "And the house which Solomon made for the Lord was sixty cubits long, twenty cubits wide and thirty cubits high."   Silva said, "Of course it wasn't my voice I heard saying it.  It was Bernie's (Bernard Shaw),"  which brought chuckles from the audience in acknowledgment of the broadcaster's famous baritone. 

Though the character, Gabriel Allon, has aged into his sixties, Silva has no plans to retire the series anytime soon.  When asked whether the series might someday make the leap to film, Silva said he had been in negotiations, but that he was very concerned about keeping control of the end product. Regardless, the future seems bright for the author and his novels with their unlikely fusion of fine art and spy-craft.

by Tanya K. Lervik, ARCA Alum

WASHINGTON, D.C. - Wednesday night, New York Times bestselling author Daniel Silva endured lighthearted ribbing and a gentle grilling by his wife, veteran journalist Jamie Gangel at the Sixth & I Historic Synagogue.  The event celebrated the launch of Silva's latest novel, "The English Girl."  The hero of Silva's series, Gabriel Allon, an art restorer turned Mossad covert agent, is drawn once again into a complex adventure - this time an attempt to rescue the kidnapped secret mistress of the British Prime Minister.  The packed audience welcomed several prominent guests including the Israeli Ambassador Michael Oren; Newt and Callista Gingrich; and celebrated CNN  journalist Bernard Shaw.

Daniel Silva explained how his background as a journalist, first at UPI, and then as a writer at CNN helped prepare him to create his popular series of novels.  One audience member asked about how he dealt with "writer's block".  Mr. Silva replied that, though he might not always be pleased with his writing, he does not have difficulty in writing the 1000 words per day required to complete a novel.  He credits his time as a reporter with that discipline because there was no time for hesitation.  Stories had to be written to a tight deadline.

Interestingly, Daniel Silva described how his main character, Gabriel Allon, was never meant to be the main focus of his first book.  Mr. Silva does not outline his novels in advance, and they evolve as he writes. He described the character as "just taking over" as he wrote, which is fortunate for his fans now enjoying the thirteenth installment in the series.

Research plays an important role in the process, according to Daniel Silva, including library research, expert interviews, and travel.  One memorable experience Mr. Silva described was visiting with the Vatican's expert restorers.  By chance, as he walked through the workshop, he noticed an unfinished work by Leonardo da Vinci, unframed and awaiting repairs.  Astonished, Silva was treated to an up close inspection of the masterpiece by the Vatican specialist.

He said the idea for this current book coalesced as he was standing in St. Peter's in Rome.   As he stood there, he kept hearing a piece of scripture resonating in his head, "And the house which Solomon made for the Lord was sixty cubits long, twenty cubits wide and thirty cubits high."   Silva said, "Of course it wasn't my voice I heard saying it.  It was Bernie's (Bernard Shaw),"  which brought chuckles from the audience in acknowledgment of the broadcaster's famous baritone. 

Though the character, Gabriel Allon, has aged into his sixties, Silva has no plans to retire the series anytime soon.  When asked whether the series might someday make the leap to film, Silva said he had been in negotiations, but that he was very concerned about keeping control of the end product. Regardless, the future seems bright for the author and his novels with their unlikely fusion of fine art and spy-craft.

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America's Book of Secrets features segment on the Isabella Stewart Gardner 1990 Theft

Here's the show, America's Book of Secrets on the History Channel, which interviewed ARCA trustee Erik Nemeth (PH.D., Independent Researcher) for an episode aired in June, Lost Treasures.  At around minute 29, the show focuses on the 1990 theft of the Isabella Stewart Gardner Museum in the segment "Bare Walls". Interviews include FBI Special Agent Geoffrey J. Kelly; Robert K. Wittman, former FBI Special Agent; Nemeth; Catherine Williamson, PH.D., Director of Fine Books and Manuscripts, Bonhams; and Chris Isleib, Director of Communications, National Archives.

Here's the show, America's Book of Secrets on the History Channel, which interviewed ARCA trustee Erik Nemeth (PH.D., Independent Researcher) for an episode aired in June, Lost Treasures.  At around minute 29, the show focuses on the 1990 theft of the Isabella Stewart Gardner Museum in the segment "Bare Walls". Interviews include FBI Special Agent Geoffrey J. Kelly; Robert K. Wittman, former FBI Special Agent; Nemeth; Catherine Williamson, PH.D., Director of Fine Books and Manuscripts, Bonhams; and Chris Isleib, Director of Communications, National Archives.

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Elmyr de Hory's friend Mark Forgy Begins Campaign on kickstarter.com to launch play "The Forger's Apprentice" at the 2013 Minnesota Fringe Festival

by Catherine Schofield Sezgin, ARCA blog Editor

Mark Forgy, a friend of the forger Elmyr de Hory, sent out an email today:

Dear Friends,

I’m excited to share a new adventure with you. We’ve launched The Forger’s Apprentice – the new play—on kickstarter.com. This is a website dedicated to helping develop new projects. Please visit  http://www.kickstarter.com/projects/1072981678/the-forgers-apprentice-a-new-play to view a video about our play, interviews with our cast members, and check out our supporter-friendly donor incentive packages. We need and encourage your help in realizing this world premier stage adaptation of my story and life with one of the most remarkable artists of modern times. Mary Abbe, Arts columnist of the Star Tribune called my book “an incredible read.” It’s time to bring this amazing tale to life. Please be a valued part of this creative process. We anticipate a wonderful production. Advance ticket sales are available at: http://www.fringefestival.org/2013/show/?id=2463

Thank you for your help

This theatrical event also has a Facebook page and has five scheduled performances from August 3 through August 11 at the 2013 Minnesota Fringe Festival.

According to Mr. Forgy: "The play dramatizes the complex relationship between Elmyr de Hory and his two apprentices, one who wants to protect him and the other who seeks to destroy him. It is a story that is rich with outrageous humor, tragedy, love and search for the truth as seen through the eyes of his true protégé."

This new play is based on the book The Forger’s Apprentice (a true story) by Mark Forgy. Described by Star Tribune Arts columnist Mary Abbe as “an incredible read,” veteran MN Fringe producers Kevin Bowen (The Red Tureen) and Sara Pilatzki-Warzeha (Thick Chick) bring to the stage a Kafka-meets-Marx Brotherstale of Elmyr (pronounced el-MEER) de Hory a.k.a. the world’s greatest art forger. 

The drama unfolds in a courtroom hearing on 7 December 1976, deciding whether Elmyr will be extradited from Spain to stand trial in France for art crimes based on charges concocted by Fernand Legros, his increasingly menacing dealer bent on destroying him. Elmyr’s young American protégé, Mark, intent on protecting his artist/mentor friend navigates this Dali-esque reality of misplaced trust, half-truths and lies trying to reconcile what’s authentic, what’s not. In the aftermath of a life governed by duplicity Elmyr struggles to shed his image of talented scoundrel; hoping for a reevaluation of his art untainted by reputation but based on artistic merit. While his relationship with Mark achieves a depth neither anticipated, Mark’s innocence blinds him to the threat Fernand Legros poses. During the days before the pending court decision that will determine Elmyr’s fate, he reflects on the ironies of his life, the effects of free but poor choices, the circumstantial nature of morality, the dirty little secrets of the art world, and  events determined not by him, but others. 

In 1973 Orson Welles produced his last feature film: F for Fake, a docu-fantasy on the world of trickery and illusion. De Hory was its focus. Welles adored Elmyr and felt a roguish/artistic kinship with the artist, drawing trompe l’oeil correlations between film and fine art, how artifice and pretense in each domain create a parallel universe more deserving of suspicion than eulogy. While taking some artistic license with this stage adaptation of “The Forger’s Apprentice,” the unreality of the story and characters is eerily close to fact. It is bizarre and wildly entertaining; a piece about which Lewis Carroll might have written, “I wish I had thought of that.”

The Forger's Apprentice was published in July 2012 by CreateSpace Independent Publishing Platform.

San Francisco art critic Jonathan Keats wrote about Elmyr de Hory in his book FORGED: Why Fakes are the Great Art of Our Age (December 2012, Oxford University Press).

by Catherine Schofield Sezgin, ARCA blog Editor

Mark Forgy, a friend of the forger Elmyr de Hory, sent out an email today:

Dear Friends,

I’m excited to share a new adventure with you. We’ve launched The Forger’s Apprentice – the new play—on kickstarter.com. This is a website dedicated to helping develop new projects. Please visit  http://www.kickstarter.com/projects/1072981678/the-forgers-apprentice-a-new-play to view a video about our play, interviews with our cast members, and check out our supporter-friendly donor incentive packages. We need and encourage your help in realizing this world premier stage adaptation of my story and life with one of the most remarkable artists of modern times. Mary Abbe, Arts columnist of the Star Tribune called my book “an incredible read.” It’s time to bring this amazing tale to life. Please be a valued part of this creative process. We anticipate a wonderful production. Advance ticket sales are available at: http://www.fringefestival.org/2013/show/?id=2463

Thank you for your help

This theatrical event also has a Facebook page and has five scheduled performances from August 3 through August 11 at the 2013 Minnesota Fringe Festival.

According to Mr. Forgy: "The play dramatizes the complex relationship between Elmyr de Hory and his two apprentices, one who wants to protect him and the other who seeks to destroy him. It is a story that is rich with outrageous humor, tragedy, love and search for the truth as seen through the eyes of his true protégé."

This new play is based on the book The Forger’s Apprentice (a true story) by Mark Forgy. Described by Star Tribune Arts columnist Mary Abbe as “an incredible read,” veteran MN Fringe producers Kevin Bowen (The Red Tureen) and Sara Pilatzki-Warzeha (Thick Chick) bring to the stage a Kafka-meets-Marx Brotherstale of Elmyr (pronounced el-MEER) de Hory a.k.a. the world’s greatest art forger. 

The drama unfolds in a courtroom hearing on 7 December 1976, deciding whether Elmyr will be extradited from Spain to stand trial in France for art crimes based on charges concocted by Fernand Legros, his increasingly menacing dealer bent on destroying him. Elmyr’s young American protégé, Mark, intent on protecting his artist/mentor friend navigates this Dali-esque reality of misplaced trust, half-truths and lies trying to reconcile what’s authentic, what’s not. In the aftermath of a life governed by duplicity Elmyr struggles to shed his image of talented scoundrel; hoping for a reevaluation of his art untainted by reputation but based on artistic merit. While his relationship with Mark achieves a depth neither anticipated, Mark’s innocence blinds him to the threat Fernand Legros poses. During the days before the pending court decision that will determine Elmyr’s fate, he reflects on the ironies of his life, the effects of free but poor choices, the circumstantial nature of morality, the dirty little secrets of the art world, and  events determined not by him, but others. 

In 1973 Orson Welles produced his last feature film: F for Fake, a docu-fantasy on the world of trickery and illusion. De Hory was its focus. Welles adored Elmyr and felt a roguish/artistic kinship with the artist, drawing trompe l’oeil correlations between film and fine art, how artifice and pretense in each domain create a parallel universe more deserving of suspicion than eulogy. While taking some artistic license with this stage adaptation of “The Forger’s Apprentice,” the unreality of the story and characters is eerily close to fact. It is bizarre and wildly entertaining; a piece about which Lewis Carroll might have written, “I wish I had thought of that.”

The Forger's Apprentice was published in July 2012 by CreateSpace Independent Publishing Platform.

San Francisco art critic Jonathan Keats wrote about Elmyr de Hory in his book FORGED: Why Fakes are the Great Art of Our Age (December 2012, Oxford University Press).

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Jennifer Levitz for The Wall Street Journal: FBI Will Begin Media Campaign in Philadelphia to flush out art stolen from Gardner Museum in 1990

In the article "Clearer Picture of Art Heist", Wall Street Journal's Jennifer Levitz outlined the media blitz FBI will understake to flush out art stolen from the Isabella Stewart Gardner Museum in 1990:

Although it doesn't know the current whereabouts of the art, the FBI believes it might still be in the Philadelphia area. So the agency will launch a publicity campaign, soliciting tips using social media and, within a few weeks, putting up digital roadside billboards in and around Philadelphia, where it believes someone may have glimpsed—or even bought—the art without knowing of the tainted origin. The museum is offering a $5 million reward for a tip leading to the recovery. The theft represents the largest property crime in U.S. history, according to the FBI.

In the article "Clearer Picture of Art Heist", Wall Street Journal's Jennifer Levitz outlined the media blitz FBI will understake to flush out art stolen from the Isabella Stewart Gardner Museum in 1990:

Although it doesn't know the current whereabouts of the art, the FBI believes it might still be in the Philadelphia area. So the agency will launch a publicity campaign, soliciting tips using social media and, within a few weeks, putting up digital roadside billboards in and around Philadelphia, where it believes someone may have glimpsed—or even bought—the art without knowing of the tainted origin. The museum is offering a $5 million reward for a tip leading to the recovery. The theft represents the largest property crime in U.S. history, according to the FBI.

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Art Crime in the Media: "Art Cops" Highlights theft of Stradivarius, The Romanoff Heist, and the Art Loss Register's Most Wanted

Here's a link to Art Cops, "A new series dealing with the theft of works of art, antiquities, books and maps from major museums, cultural institutions and collectors" (Twitter), hosted by Burt Wolf, a public television host of Travels & Traditions.

This episode, which aired on September 1, 2012 on Iowa Public Television, tells the story of "The Missing Stradivarius", the 1995 theft of a $3.5 million Stradivarius violin stolen from the New York City Apartment of Erica Morini while the 91-year-old Viennese violinist was dying in the hospital. The rare violin remains missing today.  (You can read more about stolen Stradivarius violins on the website of violinist Joshua Bell in an article by David J. Krajicek for The New York Daily News.  Mr. Wolf interviews Mr. Bell; Christopher Marinello of The Art Loss Register (and a frequent speaker at ARCA's art crime conferences); Dorit Straus, world-wide fine arts manager at Chubb Insurance Company (and an ARCA Lecturer); Bob Wittman, former FBI agent; and Bonnie Magness-Gardiner, head of the FBI's Art Crime Team.

The same episode discusses "The Romanoff Heist" when thieves stole twelve art works by Pop Artists Andy Warhol and Roy Lichtensteins from the residence of Robert Romanoff in Manhattan's Meat Packing District on Thanksgiving weekend in 2010.

Mr. Wolf also identifies three artworks Marinello and The Art Loss Register are "particularly interested in recovering": Pablo Picasso's Portrait of Dona Maar stolen in 1999 from the yacht of a Saudi Prince while anchored for repairs in the harbor at Antibes on the French Riviera; a portrait of Francis Bacon by Lucian Freud stolen when the Tate Gallery of London lent the painting to the Neue Nationalgalerie in Berlin; and the theft of a painting by Gustav Klimt in 1997 from a gallery under renovation in Italy (someone opened the skylight).

Here's a link to Art Cops, "A new series dealing with the theft of works of art, antiquities, books and maps from major museums, cultural institutions and collectors" (Twitter), hosted by Burt Wolf, a public television host of Travels & Traditions.

This episode, which aired on September 1, 2012 on Iowa Public Television, tells the story of "The Missing Stradivarius", the 1995 theft of a $3.5 million Stradivarius violin stolen from the New York City Apartment of Erica Morini while the 91-year-old Viennese violinist was dying in the hospital. The rare violin remains missing today.  (You can read more about stolen Stradivarius violins on the website of violinist Joshua Bell in an article by David J. Krajicek for The New York Daily News.  Mr. Wolf interviews Mr. Bell; Christopher Marinello of The Art Loss Register (and a frequent speaker at ARCA's art crime conferences); Dorit Straus, world-wide fine arts manager at Chubb Insurance Company (and an ARCA Lecturer); Bob Wittman, former FBI agent; and Bonnie Magness-Gardiner, head of the FBI's Art Crime Team.

The same episode discusses "The Romanoff Heist" when thieves stole twelve art works by Pop Artists Andy Warhol and Roy Lichtensteins from the residence of Robert Romanoff in Manhattan's Meat Packing District on Thanksgiving weekend in 2010.

Mr. Wolf also identifies three artworks Marinello and The Art Loss Register are "particularly interested in recovering": Pablo Picasso's Portrait of Dona Maar stolen in 1999 from the yacht of a Saudi Prince while anchored for repairs in the harbor at Antibes on the French Riviera; a portrait of Francis Bacon by Lucian Freud stolen when the Tate Gallery of London lent the painting to the Neue Nationalgalerie in Berlin; and the theft of a painting by Gustav Klimt in 1997 from a gallery under renovation in Italy (someone opened the skylight).

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Danny Boyle's 2013 "Trance" to Continue the Rakish Image of the Art Thief

"Anyone can steal a painting, all it takes is a bit of muscle, but no piece of art is worth a human life" says the (fictional) thief in the trailer for Danny Boyle's new movie, Trance, set to open in theaters in the United Kingdom on March 27 and in the United States on April 5.

Leah Rozen for BBC America reports that Danny (Slumdog Millionaire) Boyle's psychological thriller involving the theft of a Goya painting by an amnesiac thief (photogenically played by the Scottish actor James McAvoy) was filmed on location at the Victoria and Albert Museum in London.  McAvoy's character Simon is an employee at an auction house who grabs a painting off the wall during a diversion, bumps his head, and then allegedly requires a hypnotherapist (Rosario Dawson) to recovery the memory of where he hid the stolen painting before his violent associate (Vincent Cassel) tortures the recollection out of him.

"Anyone can steal a painting, all it takes is a bit of muscle, but no piece of art is worth a human life" says the (fictional) thief in the trailer for Danny Boyle's new movie, Trance, set to open in theaters in the United Kingdom on March 27 and in the United States on April 5.

Leah Rozen for BBC America reports that Danny (Slumdog Millionaire) Boyle's psychological thriller involving the theft of a Goya painting by an amnesiac thief (photogenically played by the Scottish actor James McAvoy) was filmed on location at the Victoria and Albert Museum in London.  McAvoy's character Simon is an employee at an auction house who grabs a painting off the wall during a diversion, bumps his head, and then allegedly requires a hypnotherapist (Rosario Dawson) to recovery the memory of where he hid the stolen painting before his violent associate (Vincent Cassel) tortures the recollection out of him.

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Gundlach Art Theft: Case against suspected art thieves slowly working its way through the court appearances

Last September thieves broke into the Santa Monica home of financier Jeffrey Gundlach and stole, amongst his possessions, some very valuable paintings.  Two weeks later, on the other side of Los Angeles County, with the cooperation of various law enforcement agencies, the paintings were recovered and the arrests began.  By early January, six people had been charged in the theft and appeared in court to plead "not guilty" (this is called an arraignment).  A preliminary hearing is scheduled for February 6 at 9 a.m. in Department 142 at the Airport Branch of the Los Angeles Superior Court.  This appearance in court is a just a proceeding to determine if there is sufficient evidence to require a trial.

This theft and recovery of these multimillion dollar paintings seem less glamorous than art thieves  portrayed in the media.  You can read all about art thieves and the media in a piece by Katie Ogden (ARCA 2009) on the ARCA blog here.

Last September thieves broke into the Santa Monica home of financier Jeffrey Gundlach and stole, amongst his possessions, some very valuable paintings.  Two weeks later, on the other side of Los Angeles County, with the cooperation of various law enforcement agencies, the paintings were recovered and the arrests began.  By early January, six people had been charged in the theft and appeared in court to plead "not guilty" (this is called an arraignment).  A preliminary hearing is scheduled for February 6 at 9 a.m. in Department 142 at the Airport Branch of the Los Angeles Superior Court.  This appearance in court is a just a proceeding to determine if there is sufficient evidence to require a trial.

This theft and recovery of these multimillion dollar paintings seem less glamorous than art thieves  portrayed in the media.  You can read all about art thieves and the media in a piece by Katie Ogden (ARCA 2009) on the ARCA blog here.

reade more... Résuméabuiyad