The best books for planning an art heist

Robert K. Wittman is the founder of the FBI Art Crime Team, and any one of his undercover adventures could be the plot for a box office thriller. Over the course of his career Wittman not only recovered hundreds of millions of dollars’ worth a stolen property, he protected priceless masterpieces from being lost forever. 

When I first began doing research for a novel about art theft, it was clear the global market for stolen masterpieces is incredibly complex, an underground network of smugglers, master forgers, and organized crime syndicates. To get my facts straight I needed a navigator, and this book immediately put me on the right track.

Wittman’s backstory and relentless drive to make art crime a priority within the FBI, as Italy has done with its Carabinieri Art Squad, is an inspiring story on its own, and many of his cases would feel right at home in a detective novel.

The biggest unsolved art crime is the 1990 robbery of the Isabella Gardner Museum in Boston, during which two men disguised as policemen stole 13 works of art worth an estimated $500 million.

Not one of the stolen paintings has been recovered, and rumors about their whereabouts and the identity of the thieves continue to fuel investigations across the globe. This book is a rapid-fire read and a terrific crash course in the many challenges involved in tracing lost art, let alone ever catching the thieves.

Rembrandt was incredibly prolific and well known in his lifetime, unlike so many artists whose fame only followed their deaths.

Both his reputation and the value of his paintings have continued to grow in the centuries since he died, so the combination of ubiquity and name recognition makes Rembrandt’s paintings particularly attractive to art thieves.

Quickly recognizable and easily appraised, a stolen Rembrandt is exactly the kind of black market currency professional criminals value most, whether using it for collateral during a deal, holding it for ransom until the museum pays, or selling it illicitly to a private collector.

One of the stolen masterpieces in my novel is a Rembrandt, so this book was invaluable in understanding the ambition and scope of modern art crimes. The problem of profiting off something that everyone knows is stolen turns out to be a minor challenge if you know the perfidious players working the angles of the art world.

This book is an endlessly entertaining education in the art of the heist.

The art underworld is a place where cultured curators consort with common criminals, museum directors rub shoulders with career cops, and the long-fingered hand of organized crime lurks in the shadows.

The only way to navigate this broken landscape is by following someone who knows the terrain, so when an Oslo museum was robbed of its most priceless treasure—Edvard Munch’s Scream, they turned to Charley Hill, art detective. Hill could have walked right out of a novel, a colorful character that makes this nonfiction investigation read more like a heist novel.

This book won the prestigious Edgar Award from the Mystery Writers of America for true crime, so it was high on my list when doing research for writing an art mystery. The pacing makes it a delight to read, and the twists and turns of the investigation reveal the countless ways the art world remains ripe for exploitation and crime.

I quickly concluded that no matter how audacious my ideas for my own fictional heist were going to be as I began writing, equally outrageous crimes had already been committed at museums around the world.

Tony Tetro is one of the most successful art forgers in history and a character straight out of a movie, with a devil-may-care attitude towards his fast life among the rich, famous, and fraudulent.

His talents have fooled expert appraisers and wealthy collectors for years, including Prince (now King) Charles, who acquired paintings by Tetro thinking they were authentic works of art by Picasso, Dali, Monet, and Chagall. There are likely hundreds of his forged paintings currently hanging in museums and galleries—or displayed in private collections—authenticated as originals.

Read about his secret stash room hidden behind a mirror, his reckless disregard for consequences, and his jaundiced view of the victims of his many cons, and you’ll swear you’re reading a novel versus nonfiction. 

The key to writing a novel is to make the characters as real as possible, with all the many contradictions we find in ourselves, in order to make every character relatable and sympathetic in some way, even the so-called crooks. My own novels feature a colorful cast of characters, so hearing Tetro’s perspective on his illicit trade was a reminder that everyone is the hero of their own story.

Since I spent so many months researching actual art crimes for my book, it was incredibly entertaining to read a biographical account of a forger’s trade, because no matter how fantastic your fictional musings may be, real life is often just as outlandish.