Private Boston Museum the Basis for the Art Forger

1990 fine art theft in Boston

In the early on morning hours of March eighteen, 1990, thirteen works of art were stolen from the Isabella Stewart Gardner Museum in Boston. Guards admitted two men posing every bit police officers responding to a disturbance call, and the thieves tied the guards up and looted the museum over the next 60 minutes. The case is unsolved; no arrests have been made and no works have been recovered. The stolen works have been valued at hundreds of millions of dollars by the Federal Bureau of Investigation (FBI) and fine art dealers. The museum is offering a $10 meg advantage for data leading to the art's recovery, the largest bounty always offered past a private establishment.

The stolen works were originally procured by art collector Isabella Stewart Gardner (1840–1924) and intended for permanent display at the museum with the remainder of her collection. Amid them was The Concert, ane of simply 34 known paintings by Johannes Vermeer and thought to be the most valuable unrecovered painting in the globe. Also missing is The Storm on the Sea of Galilee, Rembrandt's only seascape. Other paintings and sketches by Rembrandt, Edgar Degas, Édouard Manet, and Govert Flinck were stolen, along with a relatively valueless eagle finial and Chinese gu. Experts were puzzled past the choice of artwork, since more than valuable works were left untouched. The collection and its layout are permanent, so empty frames remain hanging both in homage to the missing works and as placeholders for their return.

The FBI believes that the robbery was planned by a criminal organization. The case lacks strong physical prove, and the FBI has largely depended on interrogations, hole-and-corner informants, and sting operations to collect data. They take focused primarily on the Boston Mafia which was in the midst of an internal gang state of war during the menses. I theory is that gangster Bobby Donati organized it to negotiate for his caporegime'south release from prison house; Donati was murdered a year afterward the robbery. Other accounts propose that the paintings were stolen by a gang in Boston's Dorchester neighborhood, though they deny involvement even after a sting operation put some of them in prison. All accept denied any knowledge or have given leads that were fruitless, despite being offered advantage coin, reduced prison sentences, and fifty-fifty freedom if they gave data leading to recovery of the fine art.

Background [edit]

The Isabella Stewart Gardner Museum was constructed under the guidance of art collector Isabella Stewart Gardner (1840–1924) to business firm her personal art collection.^[one] The museum opened to the public in 1903, and Gardner connected to expand the drove and suit it until she died in 1924. She left the museum with a $3.six 1000000 endowment,^[ii] and her will stipulated that the arrangement of the artwork should non be altered and no items were to exist sold or bought into the collection.^[1]

By the 1980s, the museum was running depression on funds.^[3] This financial strain left the museum in poor condition; it lacked a climate control system and an insurance policy, and was in need of basic building maintenance.^{[4] [v] [3]} After the Federal Bureau of Investigation (FBI) uncovered a plot by Boston criminals to rob the museum in 1982, the museum allocated funds to improve security.^{[half dozen]} Amongst these improvements were lx infrared motion detectors and a closed-circuit television system consisting of four cameras placed around the building'southward perimeter.^{[7] [eight] [half dozen]} There were no cameras installed inside every bit the board of trustees thought installing such equipment in the historical building would be besides expensive.^[iv] More security guards were hired every bit well.^[vi] Despite these security improvements, the merely fashion law could be summoned to the museum was with a button at the security desk. Other museums at the time had neglect-condom systems which required nighttime watchmen to make hourly phone calls to the law to indicate all was well.^[viii]

An independent security consultant reviewed the museum'southward operations in 1988 and adamant they were on par with most other museums, just recommended improvements.^[6] The security director at the Museum of Fine Arts in Boston also suggested security upgrades to the museum.^[nine] Because of the museum's financial strain and Isabella Stewart Gardner's wishes confronting whatsoever major renovations, the board of trustees did non approve these security enhancements.^{[6] [x] [eleven]} The board as well denied a request from the security director for higher guard salaries in a bid to attract more qualified applicants for the chore. The current guards were paid slightly higher up minimum wage.^[12] The security flaws of the museum were an open hugger-mugger among the guards.^[xiii]

Robbery [edit]

Prelude [edit]

The robbery occurred in the early hours of Lord's day, March xviii, 1990.^[fourteen] The thieves were first witnessed around 12:thirtya.m. by several St. Patrick's Mean solar day revelers leaving a party near the museum.^{[15] [14]} The ii men were disguised as law officers and parked in a hatchback on Palace Road, about a hundred feet from the side entrance.^{[16] [14]} The witnesses believed them to be policemen.^[14]

The museum guards on duty that night were Rick Abath, historic period 23, and Randy Hestand, age 25; Abath was a regular night watchman and it was Hestand's first time on the night shift.^[vii] The security policy maintained that i guard patrolled the galleries with a flashlight and walkie-talkie, while the other sabbatum at the security desk.^[7] Abath went on patrol offset. During his patrol, fire alarms sounded off in different rooms in the museum, but he could not locate whatsoever fire or fume.^{[8] [17]} Abath returned to the security room where the fire alarm control console indicated fume in multiple rooms. He causeless some type of malfunction and shut down the panel.^{[8] [16]} He went back on patrol and earlier he completed his rounds, fabricated a quick stop at the side archway of the museum, briefly opening the side door and shutting it again. He did not tell Hestand he was doing this or why.^[16] Abath completed his bout and returned to the security desk around ane:00a.m., at which point Hestand began his rounds.^[xvi]

Guards are subdued [edit]

At 1:twentya.yard., the thieves drove up to the side entrance, parked, and walked up to the side door.^{[xv] [17]} They rang the cablegram, which continued them to Abath through an intercom. They explained to Abath that they were constabulary investigating a disturbance and needed to be buzzed in.^[fifteen] Abath could see them on the closed-excursion television wearing what appeared to exist existent police uniforms.^{[15] [18]} He was not aware of whatever disturbance, but theorized that as information technology was St. Patrick's Day, peradventure a reveler had climbed over the fence and someone had seen and reported it.^[19] Abath let the men in at ane:24a.grand.^{[eighteen] [20]}

The thieves were let into a locked anteroom that separated the side door from the museum.^[21] They approached Abath at his desk and asked if anyone else was in the museum and to bring them down; Abath radioed Hestand to return to the security desk.^{[21] [18]} Abath noticed around this fourth dimension that the mustache on the taller man appeared fake.^[21] The shorter man told Abath that he looked familiar, that they may have a warrant for his abort, and to come out from behind the desk and provide identification.^[21] Abath complied, stepping away from the desk where the just panic button to warning police force was.^{[21] [18]} The shorter homo forced Abath confronting a wall, spread his legs and handcuffed him. Abath noticed that he was not frisked.^[22] Hestand walked into the room around this time, and the taller thief turned him around and handcuffed him.^[22] One time both guards were handcuffed, the thieves revealed their true intentions to rob the museum and asked the guards to not give them whatever problems.^[22]

The thieves wrapped duct tape around the heads and eyes of the guards. Without asking for directions, they led the guards into the basement where they were handcuffed to a steam pipage and workbench.^{[22] [23]} The thieves examined the wallets of the guards and explained that they knew where they alive, to not tell government anything and they would get a reward in about a year.^{[22] [23] [24]} It took the thieves less than fifteen minutes to subdue the guards; information technology was now about i:35a.chiliad.^[25]

Stealing the works [edit]

The thieves' movements through the museum were recorded on infrared movement detectors.^[26] Steps in the offset room they entered, the Dutch Room on the second floor, were not recorded until 1:48a.m.^[25] This was 13 minutes subsequently they finished subduing the guards, perhaps waiting to make sure no police were alerted.^[25]

As the thieves approached the paintings in the Dutch Room, a device began beeping that would unremarkably trip when a patron was too close to a painting. The thieves smashed it.^{[27] [23]} They took The Storm on the Sea of Galilee and A Lady and Gentleman in Black and threw them on the marble floor which shattered their drinking glass frames. Using a blade, they cut the canvases out of their stretchers.^{[27] [28] [29]} They too removed a big Rembrandt self-portrait oil painting from the wall but left it leaning against a cabinet.^{[thirty] [29]} Investigators believe they may accept considered it too large to transport, potentially considering it was painted on wood, not more durable canvas similar the others.^{[31] [30]} Instead, the thieves took a small stamp stamp-sized self-portrait carving by Rembrandt on display below the larger portrait.^{[32] [29]} On the right side of the room, they removed Mural with Obelisk and The Concert from their frames.^[33] The final piece taken from the room was an ancient Chinese gu.^[34]

At 1:51a.m., while one thief continued working in the Dutch Room, the other entered a narrow hallway dubbed the Short Gallery on the other cease of the second flooring. The other thief joined soon.^{[29] [34]} In this room, they began removing screws for a frame displaying a Napoleonic flag, likely an endeavour to steal the flag. They appeared to have given upwards partway through as not all the screws were removed, and ultimately only took the exposed eagle finial atop the flagpole.^{[34] [35]} They also took five Degas sketches from the room.^{[34] [35]} The last piece of work stolen was Chez Tortoni from the Blue Room on the first floor.^{[26] [35]} The museum's movement detectors did not detect any movement inside the Blue Room during the thieves' fourth dimension in the edifice.^[26] The only footsteps detected in the room that night were Abath's during the two times he passed through the gallery on his patrol before.^[26]

As they prepared to leave, the thieves checked on the guards one last time and asked if they were comfortable.^[36] They and so moved to the security director's role where they took the video cassettes that recorded their entrance on the airtight-circuit cameras, and the data print-outs from the movement detecting equipment. The move data was still captured on a hard drive, which remained untouched. The frame for Chez Tortoni was left at the security director's desk-bound.^[36] The thieves and then moved to take the artwork out of the museum; the side archway doors were opened once at ii:40a.m. and over again for the terminal time at 2:45a.grand.^{[37] [36]} The robbery lasted 81 minutes.^[36]

The adjacent shift of guards arrived afterward in the morning and realized something was awry when they could non constitute contact with anyone inside to be permit in. They chosen in a security director who, upon entering the building with his keys, institute nobody at the watch desk and called police force.^{[37] [38]} The police searched the edifice until they found the guards all the same tied in the basement.^{[39] [40]}

Stolen artwork [edit]

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• 

• 

• 

• 

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  Cocky-Portrait – Rembrandt

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  La Sortie de Pesage – Degas

• 

  Cortege aux Surround de Florence – Degas

• 

  Program for an Artistic Soirée 1 – Degas

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  Programme for an Artistic Soirée 2 – Degas

• 

  3 Mounted Jockeys – Degas

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  An aboriginal Chinese gu

• 

13 works were stolen. In 1990, the FBI estimated the value of the haul at $200 million^[41] and raised this estimate to $500 million by 2000.^[41] In the late 2000s, some art dealers suggested the booty could exist worth $600 million.^[42] It was considered the highest-value museum robbery until it was surpassed by the Dresden Green Vault burglary in 2019.^[43]

The most valuable works were taken from the Dutch Room.^{[44] [45]} Among these was The Concert past Dutch painter Vermeer (1632–75), one of only 34^[a] paintings attributed to him.^[46] The painting accounts for half of the haul's value,^{[42] [47]} estimated at $250 one thousand thousand in 2015.^[32] Experts believe it may be the most valuable stolen object in the earth.^{[47] [48]} In the aforementioned room, the thieves targeted works past Dutch painter Rembrandt (1606–69).^[44] These included The Storm on the Sea of Galilee, his merely seascape and the most valuable of his works stolen that night.^{[49] [25]} Estimates take placed its value at about $140 million since the robbery.^[41] The other Rembrandt works taken were A Lady and Admirer in Black and a minor postage stamp-sized self-portrait etching.^{[32] [41]} The latter was previously stolen and returned in 1970.^[32] The thieves may have taken Landscape with Obelisk assertive information technology was a Rembrandt; it was long attributed to him until it was quietly credited to his student Govert Flinck (1615–lx) a few years before the heist.^[32] The last item taken from the Dutch Room was a bronze gu about ten inches (25 cm) tall. Traditionally used for serving wine in ancient People's republic of china, the beaker was ane of the oldest works in the museum, dating to the Shang Dynasty in the 12th century BC.^{[50] [20]} Its estimated value is only several thousand dollars.^[34]

In the Short Gallery, five sketches past French artist Edgar Degas (1834–1917) were stolen.^[51] They were each washed on paper less than a square human foot in size and made with pencils, inks, washes, and charcoal.^[31] They are of relatively little value compared with the other stolen works,^[31] worth nether $100,000 combined.^[34] Likewise taken was a ten-inch-tall (25 cm) French Imperial Hawkeye finial from the corner of a framed flag for Napoleon's Imperial Guard. There is a $100,000 reward for information leading to the return of the finial alone.^[52] It peradventure appeared like gilt to the thieves.^[46] Chez Tortoni by French painter Édouard Manet (1832–1883) was taken from the Blueish Room; it was the only item taken from the outset floor.^[53]

The eclectic mix of items has puzzled experts.^{[34] [54]} While some of the paintings were valuable, the thieves passed other valuable works by Raphael, Botticelli, and Michelangelo and left them undisturbed, opting to take relatively valueless items like the gu and finial.^{[54] [29] [34] [35]} The thieves never entered the 3rd floor where Titian's The Rape of Europa hung, one of the most valuable paintings in the city.^{[26] [55]} The choice of works and the hardhearted ways the thieves handled the artwork has led investigators to believe the thieves were non experts deputed to steal particular works.^{[56] [57]}

Equally Gardner'southward will decreed zilch in her collection should be moved, the empty frames for the stolen paintings remain hanging in their respective locations in the museum as placeholders for their potential return.^[58] Because of the museum's low funds and lack of an insurance policy, the manager solicited assist from Sotheby's and Christie's auction houses to post a reward of $ane million within three days.^[59] This was increased to $5 1000000 in 1997.^[60] In 2017, information technology was doubled to $10 1000000 with an expiration appointment gear up for the end of the year.^{[61] [62] [63]} This reward was extended post-obit an outpouring of tips from the public.^[64] It is the largest bounty e'er offered by a private institution.^{[b] [66]} The advantage is for "information that leads directly to the recovery of all of [their] items in adept condition".^[67] Federal prosecutors accept stated that anyone who willingly returns the items will not be prosecuted. The statute of limitations expired in 1995 likewise, and then the thieves and anyone who participated in the theft cannot exist prosecuted.^[68]

Early on leads and people of interest [edit]

Police sketches of the thieves

The Federal Agency of Investigation (FBI) took immediate control of the case on the grounds that the artwork could likely cross state lines.^{[69] [70]} Investigators have chosen the case unique for its lack of strong physical testify.^[71] The thieves did not go out backside footprints or pilus, and it is inconclusive if the fingerprints left at the scene were from the thieves or museum employees.^{[71] [72]} The FBI has washed some DNA assay in the years following as advancements in the field grew. Some of the prove has been lost among their files.^[73] The guards and witnesses in the street described one thief as about 5 feet 9 inches (ane.75 grand) to 5 feet 10 inches (1.78 k) in his late 30s with a medium build, and the other as six feet 0 inches (1.83 m) to six feet 1 inch (one.85 grand) in his early on 30s with a heavier build.^{[13] [74]}

Rick Abath [edit]

Security guard Rick Abath was investigated early considering of his suspicious behavior on the night of the theft.^{[26] [24]} When on his patrol, Abath briefly opened and close a side door,^[16] a motility which some believe could have been a signal to the thieves parked exterior.^[75] Abath told government that he did this routinely to ensure the door was locked.^[76] I of Abath'due south colleagues told journalists that if Abath had opened the door routinely equally he maintains, supervisors would accept seen it on calculator printouts and put a terminate to it.^[76] More suspicion has been drawn from the museum'south motion detectors, which did not find whatsoever move in the Blue Room (which housed Chez Tortoni) during the 81 minutes the thieves were in the museum. The only footsteps in the room that night were Abath'southward during his security patrol.^[26] A security consultant reviewed the motion detector equipment several weeks after the theft, and adamant they were operating correctly.^[26] Abath maintains his innocence,^[77] and the FBI agent overseeing the instance in its early years determined the guards were too incompetent and foolish to accept pulled off the crime.^[24]

In 2015, the FBI released a security video from the museum on the nighttime before the theft, showing Abath buzzing in an unidentified homo into the museum to converse at the security desk. Abath told investigators he could non recall the incident or recognize the man, and so the FBI requested the public'southward help. Several old museum guards came frontward and said the stranger was Abath's dominate, the museum's deputy security primary.^[78]

Whitey Bulger [edit]

Whitey Bulger was one of the about powerful crime bosses in Boston during the era, heading the Wintertime Loma Gang.^[79] He claimed he did not organize the heist, and in fact sent his agents out in an attempt to determine who did because the robbery was committed on his "turf" and he wanted to be paid tribute.^[lxxx]

FBI agent Thomas McShane investigated Bulger for his interest.^[79] He determined that Bulger'due south strong ties with the Boston Police could explain how the thieves caused legitimate police uniforms, or perhaps that real police were arranged to do the heist.^[79] Bulger also had relations with the Irish gaelic Republican Ground forces (IRA).^[79] McShane identified the bogus tripping of the fire alarm ahead of the heist a "calling card" of the IRA and the rival Ulster Volunteer Force (UVF).^[79] Both organizations had agents in Boston at the time, and both had demonstrated capability in the past of pulling off art heists.^[79] McShane's investigation of Bulger and the IRA did not produce any show to tie them to the theft.^[81] According to Charley Loma, a retired art and antiquities investigator for Scotland Yard, Bulger gave the Gardner works to the IRA and they are most likely in Ireland.^[82]

1994 letter to the museum [edit]

In 1994, museum director Anne Hawley received an anonymous alphabetic character from someone who claimed to exist attempting to negotiate a return of the artwork.^[83] The writer explained that they were a third-party negotiator and did not know the identity of the thieves.^[84] They explained that the artwork was stolen to reduce a prison judgement, simply as the opportunity had passed, at that place was no longer a motive to proceed the artwork and they wanted to negotiate a return.^[85] The writer explained that the artwork was being held in a "non-common law state" under climate-controlled weather condition.^{[86] [84]} They wanted immunity for themselves and all others involved, and $2.half dozen million for return of the artwork, which would be sent to an offshore bank account at the same time the art was handed over.^[84] If the museum was interested in negotiating, they should print a coded bulletin in The Boston Globe.^[87] To establish credence, the writer conveyed information but known by the museum and FBI at the fourth dimension.^[83]

Hawley felt this was a strong lead.^[88] She contacted the FBI, who then contacted the Globe and the coded message was printed in the May 1, 1994, edition of The Boston Globe.^[89] Hawley received a second alphabetic character a few days later on in which the writer best-selling the museum was interested in negotiating, just had get fearful of what they perceived was a massive investigation by federal and state authorities to determine their identity.^[90] The writer explained that they needed time to evaluate their options, merely Hawley never heard from the writer again.^[91]

Brian McDevitt [edit]

Brian McDevitt was a conman from Boston who tried to rob The Hyde Drove in Glens Falls, New York in 1981.^[92] He dressed upwardly equally a FedEx commuter, carried handcuffs and duct tape, and planned to steal a Rembrandt.^[92] He was also a known flag aficionado, and fit the description of the larger robber except for his thinning red hair.^[93] These parallels to the Gardner case fascinated the FBI so they interviewed him in late 1990.^[92] McDevitt denied whatsoever interest and refused to take a polygraph test.^{[92] [93]} The FBI ran his fingerprints which did not lucifer any of those at the offense scene.^[92] McDevitt later on moved to California and conned his way into television and picture writing.^{[92] [93]} He died in 2004.^[92]

Investigation of the Boston Mafia [edit]

Merlino gang [edit]

The FBI appear significant progress in their investigation in March 2013. They reported "with a high caste of confidence" that they identified the thieves, which they believed were members of a criminal organization based in the mid-Atlantic and New England. They too felt "with that same conviction" that the artwork was transported to Connecticut and Philadelphia in the years following the theft, with an attempted sale in Philadelphia in 2002. Their knowledge of what happened after that is limited, and they requested the public's aid to locate and return the artwork.^{[94] [67]} In 2015, the FBI stated both thieves were deceased.^[95] Though the FBI did not publicly identify whatever individuals, sources familiar with the investigation said they were associated with a gang from Dorchester.^[94] The gang was loyal to Boston Mafia boss Frank Salemme and ran their operations out of an automobile repair shop run by criminal Carmello Merlino.^{[96] [97] [98]}

Merlino's assembly may have gained knowledge of the museum's weaknesses afterwards gangster Louis Royce cased it equally early as 1981.^{[99] [100]} He devised plans with an associate to lite up smoke bombs and rush the galleries amidst the confusion.^{[101] [102]} In 1982, when undercover FBI agents were investigating Royce and his associates for an unrelated art theft, they learned of their involvement in robbing the Gardner Museum and warned the museum of the gang'southward program.^{[103] [104]} Royce was in prison at the fourth dimension of the robbery.^[105] Royce shared his plan with others and believes associate Stephen Rossetti may have ordered the robbery or shared it with someone else.^{[106] [107]}

Robert Guarente and Robert Gentile [edit]

Amidst those associated with the Merlino gang were Robert Guarente and Manchester, Connecticut, gangster Robert Gentile.^{[108] [109] [110]} Guarente died from cancer in 2004,^[111] but his widow Elene told the FBI in 2010 that her husband had previously endemic some of the paintings.^[110] She claimed that when her husband got sick with cancer in the early 2000s, he gave the paintings to Gentile for safekeeping.^{[108] [112]} Gentile denied the accusations,^[112] claiming he was never given them and knew nothing of their whereabouts.^[113] Federal authorities indicted Gentile on drug charges in 2012, likely in an try to pressure Gentile for information about the Gardner works.^[114] He submitted to a polygraph test which indicated he was lying when he denied whatsoever knowledge of the theft or location of the artwork.^[115] Gentile maintained he was telling the truth and demanded a retest. During the retest he said Elene had once shown him the missing Rembrandt self-portrait, to which the polygraph auto indicated he was telling the truth.^[116] Gentile'southward lawyer felt that the veracity of Gentile's claims were being affected by the large presence of federal agents, and requested a smaller meeting in hopes that it would get Gentile to speak honestly.^[116] In the more intimate meeting, Gentile maintained that he did non have any information.^[117]

A few days later on, the FBI stormed Gentile's firm in Manchester with a search warrant.^[118] The FBI constitute a secret ditch beneath a false floor in the backyard shed, but establish it empty.^[119] Gentile'south son explained that the ditch flooded a few years prior and his father was upset nearly whatever was stored at that place.^[120] In the basement, they constitute a copy of the Boston Herald from March 1990 reporting the theft forth with a piece of paper indicating what each piece might sell for on the black market.^[118] Beyond this, no conclusive testify was found to indicate he always had the paintings.^{[ citation needed ]} Gentile went to prison for 30 months on drug charges. If he knew information nigh the theft, at no signal did he opt to share it, which would have reduced his sentence or freed him from prison.^{[ commendation needed ]} After getting out of prison, he spoke with investigative reporter Stephen Kurkjian, challenge he was framed by the FBI. He explained how the imprisonment was detrimental to his finances and personal life.^[121] He besides explained that the list found in his basement was written upward by a criminal trying to broker return of the works from Guarente and was talking to Gentile as an intermediary.^[122] When asked about what could have been in the ditch, Gentile could not think but believed it could have been pocket-sized motors.^[120]

David Turner [edit]

David Turner was some other associate of Merlino.^{[123] [124] [98]} The FBI began investigating him in 1992 when a source told them Turner had admission to the paintings.^[125] Merlino was arrested that aforementioned year for cocaine trafficking and told authorities that he could return the paintings for a reduced prison judgement.^[126] He asked Turner to rail downward the paintings; Turner failed to though he heard they were in a church building in South Boston.^{[127] [128]} Some other associate arrested in the drug sting told regime about Turner's interest in several break-ins, merely never mentioned the Gardner heist.^[128] Based on conversations with Merlino subsequently his release from prison in the mid 1990s, regime gathered that Merlino never had direct access to the paintings only possibly could broker for their return.^[129]

Despite his claims of innocence, the FBI believes he may accept been 1 of the thieves.^{[130] [131]} Show indicates that he went to Florida to option up a cocaine guild just days before the heist,^[132] and credit menu records suggest he remained there through the night of the robbery,^{[133] [134]} but some investigators believe this may take been Turner's attempt at creating an alibi.^{[ citation needed ]} The FBI thinks the other thief was his friend and Merlino acquaintance George Reissfelder.^{[131] [135]} He died in July 1991.^[136] No clues were constitute in his flat or the homes of friends and relatives,^{[131] [136]} but his siblings recall a painting similar to Chez Tortoni in his chamber.^[131] Investigators believe he looks like to the slimmer man in the police sketches.^[137]

In 1999, the FBI arrested Turner, Merlino, Rossetti, and others in a sting operation the mean solar day they planned to rob a Loomis Fargo vault.^{[138] [98]} When the FBI brought Turner in for questioning, they told him they had data that he participated in the Gardner robbery, and that if he returned the paintings, they would let him become.^[139] He told the authorities he did not know who stole the paintings nor where they could exist hidden.^[140] In his 2001 trial, he claimed entrapment, that the FBI allow the Loomis Fargo plot keep and then they could pressure him for data most the Gardner paintings.^[140] The jury found him guilty and he was sent to prison.^[139] Turner knew Gentile through Guarente, and in 2010, wrote a letter to Gentile asking if he could phone call Turner'southward quondam girlfriend to assist in recovering the Gardner paintings.^[141] In cooperation with the FBI, Gentile spoke with Turner'south girlfriend, and she told him that Turner wanted him to speak with ii of his ex-convict friends in Boston.^[142] The FBI wanted Gentile to run into the men and send an FBI surreptitious agent with him, but Gentile did non desire to cooperate further.^[142] Turner was freed in November 2019, one calendar month later on Stephen Rossetti.^[143] Merlino died in prison house in 2005.^[143]

Bobby Donati [edit]

Criminal Bobby Donati was murdered in 1991 in the midst of a gang war within the Patriarca crime family unit.^{[144] [145]} His involvement in the Gardner theft was suspected after notorious New England fine art thief Myles J. Connor Jr. spoke with authorities.^{[146] [147]} Connor was in jail at the time of the heist,^[148] but he believed Donati and criminal David Houghton were the masterminds.^[148] Connor had worked with Donati in past art heists,^[149] and claimed the ii cased the Gardner Museum^{[148] [150]} where Donati took interest in the finial.^[148] Connor as well claimed that Houghton visited him in jail after the heist and said that he and Donati organized it and were going to use the paintings to go Connor out of jail.^[149] If this is truthful, they likely borrowed the idea from Connor as he returned art to reduce sentences in the by.^[150] Even though Donati's and Houghton'south appearances did not fit the witness descriptions, Connor suggested they probably hired lower-level gangsters to carry out the robbery.^[148] Like Donati, Houghton also died within 2 years of the robbery, though from an affliction rather than murder.^[148] Connor told investigators he could assistance in returning the Gardner works in exchange for the museum's posted reward and his freedom.^[148] When investigators did not give into Connor's demands considering of lack of evidence, he suggested they speak with criminal and antiques dealer William P. Youngworth.^[148]

Acting on Connor's lead, the FBI opened a instance on Youngworth and conducted raids on his abode and antique store backdrop in the 1990s.^{[151] [146] [152]} The raids caught the attending of journalist Tom Mashberg, who began talking with Youngworth in 1997 almost the theft.^{[151] [146]} One nighttime in August 1997, Youngworth called Mashberg and told him he had proof he could render the Gardner paintings nether the right conditions.^[153] That night, Youngworth picked up Mashberg from the Boston Herald offices and drove him to a warehouse in Red Claw, Brooklyn.^{[153] [154]} Youngworth led him inside to a storage unit with several large cylinder tubes. He removed one painting from its tube, unfurled it, and showed it to Mashberg under flashlight. It appeared to Mashberg to be The Storm on the Sea of Galilee. He noticed cracking along the canvas and the edges were cut in a manner consistent with the museum's reports,^[155] as well equally Rembrandt's signature on the transport's rudder.^[156] Mashberg wrote about his experience in the Boston Herald, leaving out details to hide Youngworth's identity and the painting'southward location.^[157] He reported that his "informant" (presumably Youngworth) told him the robbery was pulled off by five men and identified 2: Donati was one of the robbers, and Houghton was responsible with moving the art to a rubber firm.^[158] The FBI discovered the location of the warehouse several months later and raided it, finding nothing.^[159]

The veracity of Youngworth'south claims and the authenticity of the painting shown to Mashberg is disputed.^[160] Youngworth supplied pigment fries to Mashberg, and federal government reported that they were indeed from Rembrandt's era, but did not match oils used for The Storm on the Sea of Galilee.^[160] The mode Mashberg described the painting equally being "unfurled" has too been scrutinized, every bit the stolen painting was covered with a heavy varnish that would not roll easily.^[160] Federal authorities and the museum began working with Youngworth after Mashberg'south story was published, but Youngworth made negotiations difficult.^[159] He would not work with authorities unless his demands could be met, which included full immunity and Connor's release from jail.^{[159] [161] [162]} The regime were skeptical of Youngworth'south veracity, and only offered fractional amnesty.^[162] The United States attorney overseeing the case somewhen ceased talks with Youngworth unless he could provide more reliable show that he had admission to the Gardner works.^[159] Youngworth again provided a vial of paint chips, purportedly from The Storm on the Sea of Galilee, and 25 color photographs of the painting and A Lady and Admirer in Blackness.^[163] A joint statement from the museum and federal investigators announced that the fries were not from the stolen Rembrandts, though they did test as being from 17th century paintings and could potentially be from The Concert.^[164]

In 2014, investigative reporter Stephen Kurkjian wrote to gangster Vincent Ferrara, Donati'southward superior during the gang state of war, inquiring if he had data nigh the Gardner theft.^{[165] [166]} He received a call back from an associate of Ferrara who explained the FBI was wrong in suspecting the Merlino gang's interest and claimed that Donati organized the robbery.^[165] The caller explained that Donati visited Ferrara in jail most three months before the theft, after the latter was charged for murder,^[167] and told Ferrara that he was going to do something to get him out of jail.^[168] Three months later on, Ferrara heard news nigh the Gardner theft,^[168] after which Donati visited him again and confirmed to Ferrara that he was involved in the robbery.^[169] He claimed to have buried the artwork and would commencement a negotiation for his release once the investigation cooled downward.^[144] The negotiations never occurred considering Donati was murdered.^[144] Kurkjian believes Donati was motivated to free Ferrara from prison because Ferrara could protect him in the gang war.^[166] A friend of Guarente as well corroborated that Donati organized the robbery, and that Donati gave paintings to Guarente when he became concerned for his own condom.^[170] Donati was close friends with Guarente.^[171] The 2 were seen at a social order in Revere shortly earlier the robbery with a handbag of police uniforms.^[171]

In popular civilisation [edit]

Fictional accounts of the robbery and what occurred to the paintings were explored on telly shows Blindspot, The Blacklist, The Venture Bros., Shameless and The Simpsons,^{[172] [173]} likewise equally the novels The Art Forger (2012) by B.A. Shapiro, Artful Deception (2012) past James J. McGovern,^{[174] [175]} Charlesgate Confidential (2018) by Scott Von Doviak, The Hidden Things (2019) by Jamie Stonemason,^[176] The Mob Zone (2020) past Joseph DeMatteo, A Discerning Centre (2020) past Ballad Orangish and The Secrets of Alias Matthew Goldman (2021) by Susan Grundy.

In 2007 the TV serial "Monk" (Season 5, Episode 11) Mr. Monk Makes a Friend, "The Concert" by Vermeer can be seen hanging on the wall of art thief Hal Tucker'southward, (Andy Richter,) apartment.^[177]

In October 2020, BBC Four released a documentary about searching for the art titled The Billion Dollar Art Hunt.^[178] In April 2021, Netflix released an original 4-office documentary series well-nigh the theft, This Is a Robbery: The World'south Biggest Fine art Heist.^[179]

Notes [edit]

1. ^ The number of paintings attributed to Vermeer is disputed.
2. ^ The Gardner Museum'south reward has only been exceeded past the United states of america government's $25 million bounty for Osama bin Laden.^[65]

References [edit]

1. ^ ^{a b} "Isabella Stewart Gardner". world wide web.gardnermuseum.org . Retrieved September 29, 2019.
2. ^ Boser 2009, p. 86.
3. ^ ^{a b} Boser 2009, p. 86-87.
4. ^ ^{a b} Kurkjian 2015, p. 34.
5. ^ Kurkjian 2015, p. 36.
6. ^ ^{a b c d e} Boser 2009, p. 85.
7. ^ ^{a b c} Kurkjian 2015, p. 40.
8. ^ ^{a b c d} Kurkjian 2015, p. 41.
9. ^ Kurkjian 2015, p. 32.
10. ^ Kurkjian 2015, p. 33.
11. ^ Kurkjian 2015, p. 37.
12. ^ Boser 2009, p. 84-85.
13. ^ ^{a b} Kurkjian 2015, p. 46.
14. ^ ^{a b c d} Boser 2009, p. i.
15. ^ ^{a b c d} Kurkjian 2015, p. 43.
16. ^ ^{a b c d e} Kurkjian 2015, p. 42.
17. ^ ^{a b} Boser 2009, p. 3.
18. ^ ^{a b c d} Boser 2009, p. 4.
19. ^ Kurkjian 2015, p. 43-44.
20. ^ ^{a b} McShane 2006, p. 250.
21. ^ ^{a b c d due east} Kurkjian 2015, p. 44.
22. ^ ^{a b c d e} Kurkjian 2015, p. 45.
23. ^ ^{a b c} Boser 2009, p. five.
24. ^ ^{a b c} Boser 2009, p. 94.
25. ^ ^{a b c d} Kurkjian 2015, p. 48.
26. ^ ^{a b c d due east f g h} Kurkjian 2015, p. 53.
27. ^ ^{a b} Kurkjian 2015, p. 49.
28. ^ Boser 2009, p. half-dozen.
29. ^ ^{a b c d e} Boser 2009, p. 7.
30. ^ ^{a b} Kurkjian 2015, p. 49-50.
31. ^ ^{a b c} McShane 2006, p. 251.
32. ^ ^{a b c d e} Kurkjian 2015, p. l.
33. ^ Kurkjian 2015, p. l-51.
34. ^ ^{a b c d e f grand h} Kurkjian 2015, p. 51.
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36. ^ ^{a b c d} Boser 2009, p. 9.
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42. ^ ^{a b} Boser 2009, p. 69.
43. ^ Chocolate-brown, Kate (Nov 25, 2019). "Thieves Stole Up to a Billion Dollars Worth of Jewels From Dresden's Famed Treasure Museum". Artnet News.
44. ^ ^{a b} Gardner Museum 2018, p. 20.
45. ^ Goldfarb 1995, p. 92.
46. ^ ^{a b} "FBI – Take You Seen These?". Federal Bureau of Investigation. Archived from the original on September fifteen, 2015. Retrieved September 8, 2015.
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51. ^ Gardner Museum 2018, p. 14.
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53. ^ Gardner Museum 2018, p. 10.
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55. ^ McShane 2006, p. 251,254.
56. ^ Boser 2009, p. 73-74.
57. ^ Kurkjian, Stephen (March 2013). "Decades later the Gardner heist, constabulary focus on guard". Boston Globe. Archived from the original on September 28, 2015.
58. ^ McShane 2006, p. 266.
59. ^ Boser 2009, p. 92.
60. ^ Boser 2009, p. 115.
61. ^ Gardner Museum staff (May 2017). "Isabella Stewart Gardner Museum : Gardner Museum doubles reward to $10 million for return of stolen art". world wide web.gardnermuseum.org . Retrieved May 26, 2017.
62. ^ Bowley, Graham (May 23, 2017). "Gardner Museum Doubles Reward for Recovery of Stolen Masterpieces". The New York Times. ISSN 0362-4331. Archived from the original on May 24, 2017. Retrieved May 24, 2017.
63. ^ Murphy, Shelley (December fifteen, 2017). "$10m reward for stolen Gardner museum artwork set to expire at cease of 2017". The Boston Globe . Retrieved December xvi, 2017.
64. ^ "$10M Reward Extended For Return Of Stolen Gardner Museum Art". CBS. January 11, 2018. Retrieved January 16, 2018.
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66. ^ Boser 2009, p. 58.
67. ^ ^{a b} Comcowich, Greg (March 18, 2013). "FBI Provides New Information Regarding the 1990 Isabella Stewart Gardner Museum Art Heist: Information Sought from Those in Philadelphia and Connecticut Who May Have Knowledge of the Fine art's Location" (Press release). Federal Bureau of Investigation, Boston Division. Archived from the original on July 10, 2017.
68. ^ Kurkjian 2015, p. 176.
69. ^ Kurkjian 2015, p. 60.
70. ^ Kurkjian 2015, p. 93.
71. ^ ^{a b} Boser 2009, p. 97.
72. ^ McShane 2006, p. 257-258.
73. ^ Spud, Shelley; Kurkjian, Stephen (June 12, 2017). "Prove in Gardner Museum thefts that might conduct Dna is missing". The Boston Earth. Archived from the original on December 28, 2017. Retrieved June 12, 2017.
74. ^ McShane 2006, p. 257.
75. ^ Kurkjian 2015, p. 55-56.
76. ^ ^{a b} Kurkjian 2015, p. 56.
77. ^ Kurkjian 2015, p. 54.
78. ^ Kurkjian 2015, p. 56-57.
79. ^ ^{a b c d due east f} McShane 2006, p. 256.
80. ^ Kurkjian 2015, p. 96.
81. ^ McShane 2006, p. 259.
82. ^ Suddath, Claire (June thirty, 2020). "The Instance of the Empty Frames Remains Art World'south Biggest Mystery". Bloomberg News . Retrieved July 2, 2020.
83. ^ ^{a b} Kurkjian 2015, p. 79.
84. ^ ^{a b c} Kurkjian 2015, p. 81.
85. ^ Kurkjian 2015, p. 80.
86. ^ Kurkjian 2015, p. 79-80.
87. ^ Kurkjian 2015, p. 81-82.
88. ^ Kurkjian 2015, p. 82.
89. ^ Kurkjian 2015, p. 82-83.
90. ^ Kurkjian 2015, p. 82-84.
91. ^ Kurkjian 2015, p. 84.
92. ^ ^{a b c d e f g} Boser 2009, p. 97-98.
93. ^ ^{a b c} McShane 2006, p. 262.
94. ^ ^{a b} Kurkjian 2015, p. 114-118.
95. ^ "FBI says two suspects who stole $500m in art from Boston museum are dead". The Guardian. August 7, 2015. Archived from the original on August 14, 2015. Retrieved August 12, 2015.
96. ^ Kurkjian 2015, p. 190.
97. ^ Kurkjian 2015, p. 180.
98. ^ ^{a b c} Boser 2009, p. 99.
99. ^ Kurkjian 2015, p. 191.
100. ^ Kurkjian 2015, p. 11.
101. ^ Kurkjian 2015, p. 21.
102. ^ Kurkjian 2015, p. 24.
103. ^ Kurkjian 2015, p. 22-25.
104. ^ Boser 2009, p. 84.
105. ^ Kurkjian 2015, p. 27.
106. ^ Kurkjian 2015, p. 19.
107. ^ Kurkjian 2015, p. 28.
108. ^ ^{a b} Kurkjian 2015, p. 141.
109. ^ Kurkjian 2015, p. 140.
110. ^ ^{a b} Kurkjian 2015, p. 146.
111. ^ Kurkjian 2015, p. 144.
112. ^ ^{a b} Kurkjian 2015, p. 148-149.
113. ^ Kurkjian 2015, p. 147.
114. ^ Kurkjian 2015, p. 119-120.
115. ^ Kurkjian 2015, p. 121.
116. ^ ^{a b} Kurkjian 2015, p. 123.
117. ^ Kurkjian 2015, p. 124.
118. ^ ^{a b} Kurkjian 2015, p. 125.
119. ^ Kurkjian 2015, p. 127.
120. ^ ^{a b} Kurkjian 2015, p. 128.
121. ^ Kurkjian 2015, p. 131.
122. ^ Kurkjian 2015, p. 137-140.
123. ^ Kurkjian 2015, p. 151.
124. ^ Kurkjian 2015, p. 142.
125. ^ Boser 2009, p. 104.
126. ^ Boser 2009, p. 105.
127. ^ Kurkjian 2015, p. 157.
128. ^ ^{a b} Kurkjian 2015, p. 158.
129. ^ Boser 2009, p. 106.
130. ^ Kurkjian 2015, p. 152.
131. ^ ^{a b c d} Kurkjian 2015, p. 162.
132. ^ Kurkjian 2015, p. 154.
133. ^ Kurkjian 2015, p. 154-155.
134. ^ Kurkjian 2015, p. 155.
135. ^ Boser 2009, p. 198.
136. ^ ^{a b} Kurkjian 2015, p. 163.
137. ^ Boser 2009, p. 199.
138. ^ Kurkjian 2015, p. 170.
139. ^ ^{a b} Boser 2009, p. 100.
140. ^ ^{a b} Boser 2009, p. 107.
141. ^ Kurkjian 2015, p. 149.
142. ^ ^{a b} Kurkjian 2015, p. 150.
143. ^ ^{a b} White potato, Shelley. "Homo suspected in Gardner museum heist ready complimentary - The Boston Earth". BostonGlobe.com.
144. ^ ^{a b c} Kurkjian 2015, p. 200.
145. ^ Kurkjian 2015, p. 189.
146. ^ ^{a b c} Kurkjian 2015, p. 66.
147. ^ Kurkjian 2015, p. 201.
148. ^ ^{a b c d e f g h} McShane 2006, p. 263.
149. ^ ^{a b} Kurkjian 2015, p. 202.
150. ^ ^{a b} Kurkjian 2015, p. 204.
151. ^ ^{a b} Kurkjian 2015, p. 65.
152. ^ Boser 2009, p. 116.
153. ^ ^{a b} Kurkjian 2015, p. 67.
154. ^ Kurkjian 2015, p. 68.
155. ^ Kurkjian 2015, p. 69.
156. ^ Boser 2009, p. 117.
157. ^ Kurkjian 2015, p. lxx.
158. ^ Kurkjian 2015, p. 70-71.
159. ^ ^{a b c d} Kurkjian 2015, p. 74.
160. ^ ^{a b c} Kurkjian 2015, p. 71.
161. ^ Kurkjian 2015, p. 72.
162. ^ ^{a b} Boser 2009, p. 118.
163. ^ Kurkjian 2015, p. 74-75.
164. ^ Kurkjian 2015, p. 75.
165. ^ ^{a b} Kurkjian 2015, p. 193-194.
166. ^ ^{a b} Kurkjian 2015, p. 218.
167. ^ Kurkjian 2015, p. 198.
168. ^ ^{a b} Kurkjian 2015, p. 198-199.
169. ^ Kurkjian 2015, p. 199-200.
170. ^ Kurkjian 2015, p. 206.
171. ^ ^{a b} Kurkjian 2015, p. 205.
172. ^ Perigard, Mark (Oct thirty, 2013). "Starring part for Boston on new striking Blacklist". Boston Herald. Archived from the original on November 1, 2013. Retrieved December ix, 2015.
173. ^ "'Simpsons' crevice case of Gardner heist". Boston Herald. Apr 13, 2010. Archived from the original on April 14, 2021. Retrieved December ix, 2015.
174. ^ Taylor, Fine art (October 21, 2012). "Volume World: Drawing on reality". The Washington Mail service . Retrieved March 26, 2017.
175. ^ Valencia, Milton; Murphy, Shelley; Kurkjian, Stephen (March 25, 2013). "Observers, investigators say at present is fourth dimension to find Gardner art before it is lost". The Boston Globe. Archived from the original on January 25, 2016. Retrieved Jan 8, 2016.
176. ^ Cogdill, Oline H. (August 12, 2019). "Review: Violence simmers throughout 'The Hidden Things'". Associated Press . Retrieved May 20, 2020.
177. ^ Zisk, Randy (January 19, 2007), Mr. Monk Makes a Friend, Monk, retrieved April 7, 2022
178. ^ Mangan, Lucy (October xix, 2020). "The Billion Dollar Art Hunt review – the instance that stumped the FBI". The Guardian . Retrieved April 12, 2021.
179. ^ Del Rosario, Alexandra (March xi, 2021). "Netflix Sets Art Heist Docuseries 'This Is A Robbery' From Jane Rosenthal & Barnicle Brothers". Deadline . Retrieved March 17, 2021.

Bibliography [edit]

• Kurkjian, Stephen (2015). Master Thieves: The Boston Gangsters Who Pulled Off the Earth'south Greatest Art Heist. New York: PublicAffairs. ISBN978-1-61039-632-5.
• Boser, Ulrich (2009). The Gardner Heist: The True Story of the World's Largest Unsolved Art Theft . New York: HarperCollins. ISBN978-0-06-145184-3.
• Isabella Stewart Gardner Museum (2018). Stolen. Carlisle, Massachusetts: Benna Books. ISBN978-i-944038-52-6.
• Goldfarb, Hilliard T. (1995). The Isabella Stewart Gardner Museum: A Companion Guide and History . New Haven, Connecticut: Yale University. ISBN0-300-06341-5.
• McShane, Thomas; Matera, Dary (2006). Stolen Masterpiece Tracker. Fort Lee, New Jersey: Barricade Books. ISBN1-56980-314-five.
• Wittman, Robert K.; Shiffman, John (2010). Priceless: How I Went Undercover to Rescue the World's Stolen Treasures. New York: Broadway Books. ISBN978-0-307-46148-3.

External links [edit]

• Media related to Isabella Stewart Gardner Museum theft at Wikimedia Commons
• Gardner Museum'due south theft page
• FBI's theft page
• Last Seen podcast series by WBUR

linnafteneirs.blogspot.com

Source: https://en.wikipedia.org/wiki/Isabella_Stewart_Gardner_Museum_theft

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