The most recommended art theft books

Esterow, then employed by Larry Fleischman, assessed hundreds of Edward Hoppers that an unknown minister offered to sell.

The book’s dust jacket advertises “a lively history of certain fabulous art thefts—and the strange breed of thieves who perpetrated them.” Esterow’s book inspired one reviewer to comment that few of his criminals “are very ingenious.”

Sanborn, who must have seemed to Esterow like a character that belonged in his narrative, told me that Esterow offered him a consignment deal for what he was shown, which later turned out to be just a small part of Sanborn’s loot.

Had he known Sanborn’s story, Esterow might have added his scheme of befriending the aging sister of a famous artist, whose early works were jammed into the attic of the family home. 

This fascinating book not only looks at art stolen by thieves, but also at the business of art museums and what constitutes moral collection. It was written in 1973, so things have changes drastically as far as how we perceive where a treasure belongs, but Meyer already argues for the return of the so-called Elgin Marbles, for example. He has a brilliant table at the end, listing major art thefts 1911-1972 and including comments, all of which deserve a story of their own. For example: 

1953, Rodin bronze, stolen by a student who wanted to “live with it”. 

1959, Daumier painting, in the pocket of a suitcase that was stolen from a train. 

1971, Titian “Holy Conversation”, recovered after dramatic car chase. Thieves also drank communion wine. 

Dagnini’s book focuses specifically on Italy and the amazing stories of Rome, Naples, Florence, and Pisa among others. If you love Italian art and architecture, you will not be able to put this book down. Descriptions of the damage, but also how it was fixed and avoided in some cases, are truly inspiring. Without these Allied personnel, so much more could have been lost.

You describe a book as “Ocean’s Eleven for teens,” and I am a hundred percent in.

Like most heists, this one has the cat burglar and the genius hacker and the femme fatale and the getaway driver—except this time, they’re all teenagers. What a dream!

I just love a good heist story. They have to be so carefully crafted, so tightly plotted, and as a writer I really admire any storyteller who can do that. All three books in the Heist Society series are remarkable feats of plotting and pacing. I got to see Ally Carter give an author talk once, and she spoke about just how hard it is to write something that looks this easy. That’s so true; it really stuck with me.

Hermann Goering’s art dealer was a Nazi stormtrooper with a PhD in art history and an athletic build. And Bruno Lohse always made sure the champagne was on ice whenever Hermann Goering arrived at Paris’ Jeu de Paume museum in order to examine the latest in stolen masterpieces.

Although Lohse was arrested after the war for his ties to the Nazi party and spent several years in prison in Germany and France, he was never convicted for his role in stealing art, and went on to make a good living as an art dealer in Munich after the war. Jonathan Petropoulos, a history professor at Claremont McKenna College and expert on the Holocaust, interviewed Lohse several times for this fascinating book.

Every novel Peter Carey writes is a rollicking adventure and this one is no exception. I love his way with words that is always original, and his idiosyncratic characters.

Theft tells the story of Michael "Butcher" Boone, an Australian artist whose career is in the doldrums. The novel alternates between the viewpoint of Butcher and that of his "damaged" brother Hugh. And yes, there is theft in the novel,…and scams and forgeries too. This is my favourite of all Carey’s novels. 

Set in the eighteenth century, with a rich cast of characters and an intriguing plot, this book was a feast!

I stumbled upon Tania James’ book at the airport and devoured more than half of it during the three-hour flight home. The story interweaves romance and adventure and serves as a “sliding door” into the lasting impact of colonialism.

The hero of the story is seventeen-year-old Abbas, the finest woodcarver in his hometown of Mysore, India. He is snatched up by the sultan to work with a master French watchmaker to create an unforgettable automaton to celebrate the return of the Sultan's sons from being held hostage by the English.

Tipu's Tiger is a wonder, and Abbas is completely enamored with learning to create mechanisms and opportunities for learning with the Frenchman Lucien Du Leze. There were so many interesting characters and crisscrossing plots that I was glued to every… show more.

I really like the discussion of the Metropolitan Museum’s celebrated acquisition of the ancient Greek Eurphronios Krater, which turned out to have been stolen from a tomb and had to be returned to Italy.

We read that even taking less valuable items “damages archaeological heritage, thereby compromising or weakening historical scholarship.”

I appreciate how this also applies to the unrelated minister who got into the Edward Hopper estate and who hid Hopper’s papers—5,000 documents—for 50 years, damaging their context, perhaps destroying some.

I wrote my biography and definitive catalogue of Hopper’s art without access to most of these papers. Now that I have seen most of them, I am relieved that my work retains its value. Fortunately, I found another source that provided many of Jo Hopper’s diaries.

The Art Thief is a narrative exposition of the long and bizarre career of one of Europe’s most “successful” art thieves (200 liftings over a decade, across Europe, valued at $2 billion); someone who stole not for profit, but out of a desire to be in the constant presence of incomparable beauty (and, clearly, had an addiction). 

Some reviewers quibbled with the fact that Finkel’s is not the first book on the subject (who cares?), relied on speculative psychological analysis, etc. but as someone unfamiliar with the story, I found the book very entertaining, and read it in one sitting. 

David Gill is the leading authority on antiquities looting and the legitimate institutions that trade in it. This collection of essays, most published first in The Journal of Art Crime, is as good an introduction as any to the dark side of the antiquities trade.