Here are 65 books that Loot fans have personally recommended if you like
Loot.
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I’m a Distinguished Professor of art history at CUNY and biographer of artists. I grew up in Atlanta, attended college in Boston, and have worked in New York since my twenties. With a new Ph.D. in art history from Rutgers, I began as curator of the Hopper Collection at the Whitney Museum, assigned to produce a definitive catalogue of all Edward Hopper’s authentic art. His papers were missing except for his record books that recorded every time a work left for sale, loan, or gift. I traced each work as it left Hopper’s possession and discovered a massive number of undocumented artworks stolen from the estate, which the Whitney still wants to cover up.
This very well-researched and gripping book taught me the meaning of the term “laundering” in the art market and revealed the duplicity of the late art dealer, Larry Fleischman, who both collected and sold stolen antiquities and marketed undocumented works taken from Edward Hopper’s estate.
He didn’t care about provenance or history of ownership and is quoted in this book as saying: “Everything comes from somewhere.”
Although I knew and dealt with Fleishman, I trusted him and was tricked by him.
A “thrilling, well-researched” account of years of scandal at the prestigious Getty Museum (Ulrich Boser, author of The Gardner Heist).
In recent years, several of America’s leading art museums have voluntarily given up their finest pieces of classical art to the governments of Italy and Greece. Why would they be moved to such unheard-of generosity? The answer lies at the Getty, one of the world’s richest and most troubled museums, and scandalous revelations that it had been buying looted antiquities for decades. Drawing on a trove of confidential museum records and candid interviews, these two journalists give us a fly-on-the-wall…
I’m a journalist, critic, and poet who has spent a career engaging with the world. I love telling stories, and I strive to put beauty and tension into everything I write. I’ve had great editors – they’ve published my work in The Guardian, National Geographic, ARTnews, The Washington Post, The Times Literary Supplement, and Archaeology, where I am a contributing editor, and many other places – but it always comes down to me and my computer. And often a plane ticket and a suitcase.
This is a pioneering, extraordinarily well-documented exposé of how famous museums have filled their shelves with looted artifacts and more than a few fakes – which, the author explains, tend to flock together. The author was a whistle-blowing curator at the Metropolitan Museum of Art in New York. He knows his stuff. So why was I reluctant to recommend this title? Because it’s so hard to find and, with hundreds of photographs, costs upwards of $100. If you can find a used copy, grab it, and if your local library has it, kiss a librarian and make a donation.
The Lie Became Great explores the closed society of international plunderers and forgers which thrives as a subculture of the Art World. These multi-cultural denizens include antiquity dealers, collectors, museum curators, forgers working in conjunction with auction houses, museums and galleries. Forgeries are made to be sold, and a great number pass into the Art World - collections, exhibitions, catalogues, and popular and scholarly journals - complete with their fabricated stories of excavation, and how they were found. The Lie Became Great documents the success and activities of one small corner of this vast network - artifacts form the Ancient…
I’m a journalist, critic, and poet who has spent a career engaging with the world. I love telling stories, and I strive to put beauty and tension into everything I write. I’ve had great editors – they’ve published my work in The Guardian, National Geographic, ARTnews, The Washington Post, The Times Literary Supplement, and Archaeology, where I am a contributing editor, and many other places – but it always comes down to me and my computer. And often a plane ticket and a suitcase.
No book exposes the tricks of the trade that smugglers and dealers use to launder looted artifacts like this one. Focusing on a wave of looting in southern Italy in the 1980s and ‘90s, the authors show how European and American millionaire collectors fueled the ransacking of ancient sites. It’s a substantive, entertaining read about crime and the contradictions of modern Italy by two brilliant writers.
The story begins, as stories do in all good thrillers, with a botched robbery and a police chase. Eight Apuleian vases of the fourth century B.C. are discovered in the swimming pool of a German-based art smuggler. More valuable than the recovery of the vases, however, is the discovery of the smuggler's card index detailing his deals and dealers. It reveals the existence of a web of tombaroli ,tomb raiders, who steal classical artifacts, and a network of dealers and smugglers who spirit them out of Italy and into the hands of wealthy collectors and museums. Peter Watson, a former…
I’m a journalist, critic, and poet who has spent a career engaging with the world. I love telling stories, and I strive to put beauty and tension into everything I write. I’ve had great editors – they’ve published my work in The Guardian, National Geographic, ARTnews, The Washington Post, The Times Literary Supplement, and Archaeology, where I am a contributing editor, and many other places – but it always comes down to me and my computer. And often a plane ticket and a suitcase.
The American explorer Hiram Bingham “discovered” the abandoned Inca resort of Machu Picchu in 1911 (in fact a local indigenous farmer led him to the ruins). He took home human bones and artifacts which Peru has been demanding back ever since, but to look at this story as simply a tale of colonialist exploitation would do it a disservice. Bingham was a colorful, big-hearted character who understood the importance of what he had found. The author captures his life and complicated legacy with grace and erudition, compellingly situating him in the Inca revivalist milieu of early twentieth century Cuzco. Anyone travelling to Peru should read it.
In 1911, a young Peruvian boy led an American explorer and Yale historian named Hiram Bingham into the ancient Incan citadel of Machu Picchu. Hidden amidst the breathtaking heights of the Andes, this settlement of temples, tombs and palaces was the Incas' greatest achievement. Tall, handsome, and sure of his destiny, Bingham believed that Machu Picchu was the Incas' final refuge, where they fled the Spanish Conquistadors. Bingham made Machu Picchu famous, and his dispatches from the jungle cast him as the swashbuckling hero romanticized today as a true Indiana Jones-like character. But his excavation of the site raised old…
World War 2 has always interested me and my curiosity was strengthened a few years ago when my mother told me I was born illegitimate and my father had been the civil engineer building a nearby bomber airfield and a lodger with her parents. She was ashamed of what happened and lost contact with my father before I was born. Consequently, I wrote my first novel Unplanned. I then met the daughter of the Berlin mother in Abandoned in Berlin, and found itnatural to pursue this story, given what I had discovered about my own upbringing. The effort has taught me to seek to forgive but never to forget.
This is a story of retrieving fine art from Prague and returning it to its rightful owners in Canada. Four paintings were left in the care of a friend when the Reeser family fled Czechoslovakia as Hitler’s army arrived on March 15, 1939. For 50 years, the family was denied access to their property. Here is an account of determination and love that combines accurate descriptions of history with fictional speculation on how the paintings were retrieved. The Reeser family was fortunate to know what they had and where it was.
I enjoyed the plot in this book and the persistence of the protagonists. It is gratifying to read a story where a family who lost everything at the start of the War, persevered to become reunited with the family treasures once Communism fell in Eastern Europe. The story blends accurate history with imaginative fiction, making it a delight to…
The story of the Reesers, a Jewish family who emigrated to Canada from Czechoslovakia on the eve of WWII. They fled the Nazis and left behind four valuable oil paintings. It would take years for the Reeser family, led by matriarch Mari Reeser, and then her son Karl, to retrieve them. Along the way they had help from two unlikely sources - a mid-level diplomat at the Canadian embassy in Prague, and a daring Dutch-Canadian art smuggler.
World War 2 has always interested me and my curiosity was strengthened a few years ago when my mother told me I was born illegitimate and my father had been the civil engineer building a nearby bomber airfield and a lodger with her parents. She was ashamed of what happened and lost contact with my father before I was born. Consequently, I wrote my first novel Unplanned. I then met the daughter of the Berlin mother in Abandoned in Berlin, and found itnatural to pursue this story, given what I had discovered about my own upbringing. The effort has taught me to seek to forgive but never to forget.
The plundering of books by the Nazis, especially literature belonging to the Jewish community, is the topic of this novel. Many books are untraceable today and their legitimate owners are long since dead. Nazis confiscated literature for various reasons, some involving original manuscripts, others used to seek out the enemies of the Reich, and quantities were gathered as status indicators. Once the war was over, there were book collections taken for a second time and justified as “liberated” rather than “plundered!”
I enjoyed the novel because it covers an aspect of the Holocaust that is rarely addressed and offers insights into what happened to many books that disappeared from Jewish collections during Nazi times. We know there was a book store on the ground floor of the apartment block in my story and that the family belonged to a publishing dynasty. But no one survives today to tell us what…
"A most valuable book." —Christian Science Monitor
For readers of The Monuments Men and The Hare with Amber Eyes, the story of the Nazis' systematic pillaging of Europe's libraries, and the small team of heroic librarians now working to return the stolen books to their rightful owners.
While the Nazi party was being condemned by much of the world for burning books, they were already hard at work perpetrating an even greater literary crime. Through extensive new research that included records saved by the Monuments Men themselves—Anders Rydell tells the untold story of Nazi book theft, as he himself joins…
When at 13, I declared that I’d become an Egyptologist, quite a lot of people thought it would pass. Fast forward 10 years, and I was starting a PhD on Egyptian mummies in museums – it did not pass. I journeyed from the Louvre where I was a gallery attendant trying to uncover the story of bodies buried in their garden, to England where I relocated with little English to pursue an Egyptology degree… and then two more! The ethics of human remains in museums is a complex topic: that’s why I like to make it more approachable to the public, from running my project Mummy Stories, to giving talks in pubs!
The Whole Picture is a very recent book, that needs little introduction: that’s always the sign of a great book.
It does something very well: it explains what all those talks about looted art and artefacts and colonialism, and repatriation, are all about, without patronizing anyone, but without letting museums get away with their narratives either.
I remember reading it and thinking that it was about time I picked up my little idea and write my own book: I stand on the shoulders of fierce writers and thinkers and game-changers.
This book will make you ask questions, and it will make you avoid one Parisian museum in particular; and I very much concur this. You’ll have to read the book to find out which one.
"Probing, jargon-free and written with the pace of a detective story... [Procter] dissects western museum culture with such forensic fury that it might be difficult for the reader ever to view those institutions in the same way again. " Financial Times
'A smart, accessible and brilliantly structured work that encourages readers to go beyond the grand architecture of cultural institutions and see the problematic colonial histories behind them.' - Sumaya Kassim
Should museums be made to give back their marbles? Is it even possible to 'decolonize' our galleries? Must Rhodes fall?
I am a tired activist and recovering attorney. My professional focus on violence and humanity’s response to it began when, as a seven-year-old, the nuns at my Catholic school showed us newsreels of the liberation of Nazi concentration camps. This led me to adopt as my life’s guiding principle Julian Beck’s admonition “to redeem our share of the universal cruelty.” After 20 years in the U.S. Violence Against Women Movement, I absconded to the former Yugoslavia and found myself in the middle of a war during which I ran a war crimes documentation project (memoir in progress). I later reported on the international war crimes trial of Slobodan Milosevic.
Kochavi’s book gave me a more complete and nuanced understanding of how the Nuremberg war crimes court came to be, how defendants were selected, and what law to apply. Based on copious research, Kochavi uncovers the inside story of how the Allies ultimately agreed to establish an international court to hold Nazi officials accountable for mass atrocities instead of summarily executing them, which Churchill, Roosevelt, and Stalin favored. Initial U.S. and British resistance to including crimes against German nationals (extermination of the Jews among them) was overcome by strong public, especially Jewish, opposition.
Between November 1945 and October 1946, the International Military Tribunal in Nuremberg tried some of the most notorious political and military figures of Nazi Germany. The issue of punishing war criminals was widely discussed by the leaders of the Allied nations, however, well before the end of the war. As Arieh Kochavi demonstrates, the policies finally adopted, including the institution of the Nuremberg trials, represented the culmination of a complicated process rooted in the domestic and international politics of the war years.Drawing on extensive research, Kochavi painstakingly reconstructs the deliberations that went on in Washington and London at a time…
I am a Caribbean-American literary scholar who has spent many years studying, lecturing and writing about the interrelated fields of African Diaspora literature and culture, meaning the creative and theoretical productions of writers from Africa, the United States, Latin America, Brazil, and the Caribbean. I teach a variety of these subjects and enjoy the combinations of politics, creativity, and cultural expression that they contribute. These books provide you with a good cross-section of what is available in the Caribbean and the Caribbean diaspora.
The best book on the legal basis for reparations from the Caribbean’s foremost historian. It offers a historical examination of the justification for reparations for the cost and lost labor the British gained during enslavement and brings together African and indigenous people's rights.
Since the mid-nineteenth-century abolition of slavery, the call for reparations for the crime of African enslavement and native genocide has been growing. In the Caribbean, grassroots and official voices now constitute a regional reparations movement. While it remains a fractured, contentious and divisive call, it generates considerable public interest, especially within sections of the community that are concerned with issues of social justice, equity, civil and human rights, education, and cultural identity. The reparations discourse has been shaped by the voices from these fields as they seek to build a future upon the settlement of historical crimes.
In books, essays and reportage, I've been writing about Israel and the conflict since moving from the U.S. to Israel in 1982. Even as I write from within my Israeli consciousness, I have tried to understand and convey other perspectives. For Israelis and Palestinians, there is nothing abstract about this conflict; it is, instead, a matter of life and death. My writing is an attempt to simultaneously convey the passions of this conflict and offer an empathic voice for all those caught in this seemingly hopeless situation.
What is the core of the Palestinian-Israeli conflict, and what is the key to its solution? In this groundbreaking work, Adi Schwartz and Einat Wilf argue that the answer is not settlements or holy places or even the absence of a Palestinian state. Instead, the core of the conflict is the Palestinian national movement’s insistence on “right of return” of millions of descendants of Palestinian refugees to what is now the state of Israel – rather than resettlement in a future Palestinian state. What Palestinian leaders have effectively done, argue the authors, is link the end of the conflict to a “solution” that will mean the end of a sovereign Jewish state. The authors, who support the creation of a Palestinian state, argue that its creation depends on the willingness of Palestinian leaders to give up their dream of destroying Israel through a shift in its demographic balance. Until that…
Two prominent Israeli liberals argue that for the conflict between Israel and the Palestinians to end with peace, Palestinians must come to terms with the fact that there will be no "right of return."
In 1948, seven hundred thousand Palestinians were forced out of their homes by the first Arab-Israeli War. More than seventy years later, most of their houses are long gone, but millions of their descendants are still registered as refugees, with many living in refugee camps. This group―unlike countless others that were displaced in the aftermath of World War II and other conflicts―has remained unsettled, demanding to…
