Here are 100 books that Stolen Treasure fans have personally recommended if you like
Stolen Treasure.
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Shirley Jackson award-winner Kaaron Warren published her first short story in 1993 and has had fiction in print every year since. She was recently given the Peter McNamara Lifetime Achievement Award and was Guest of Honour at World Fantasy 2018, Stokercon 2019 and Geysercon 2019. She has also been Guest of Honour at Conflux in Canberra and Genrecon in Brisbane.
She has published five multi-award winning novels (Slights, Walking the Tree, Mistification, The Grief Hole and Tide of Stone) and seven short story collections, including the multi-award winning Through Splintered Walls. Her most recent short story collection is A Primer to Kaaron Warren from Dark Moon Books. Her most recent novella, Into Bones Like Oil (Meerkat Press), was shortlisted for a Shirley Jackson Award and the Bram Stoker Award, winning the Aurealis Award. Her stories have appeared in both Ellen Datlow’s and Paula Guran’s Year’s Best anthologies.
This
book looks at thieves, liars, manipulators and of course the art itself.
There’s a section on damaged goods, which taps into one of my obsessions about
the difference in time and effort creation versus destruction takes.
It’s
full of pictures, ironic given that most of the pieces depicted are lost, never
to be found. The Gallery of Missing Art is beautifully reproduced, and includes
such masterpieces as Strindberg’s “Night of Jealousy”, so we can look at the
works and marvel. But knowing that these pieces are…somewhere? Hidden away for
a small audience, or perhaps destroyed? That’s heart-breaking.
The masterpieces of art that have been stolen could fill a museum. Museum of the Missing offers readers a rare glimpse of the greatest gallery that never was. Simon Houpt brilliantly recounts the story of its valuable holdings and investigates some of the men and women involved in the thefts. Filled with beautiful illustrations and rarely seen photographs, this intriguing book is also a celebration of the ingenious few who are trying to get these treasures back.
Shirley Jackson award-winner Kaaron Warren published her first short story in 1993 and has had fiction in print every year since. She was recently given the Peter McNamara Lifetime Achievement Award and was Guest of Honour at World Fantasy 2018, Stokercon 2019 and Geysercon 2019. She has also been Guest of Honour at Conflux in Canberra and Genrecon in Brisbane.
She has published five multi-award winning novels (Slights, Walking the Tree, Mistification, The Grief Hole and Tide of Stone) and seven short story collections, including the multi-award winning Through Splintered Walls. Her most recent short story collection is A Primer to Kaaron Warren from Dark Moon Books. Her most recent novella, Into Bones Like Oil (Meerkat Press), was shortlisted for a Shirley Jackson Award and the Bram Stoker Award, winning the Aurealis Award. Her stories have appeared in both Ellen Datlow’s and Paula Guran’s Year’s Best anthologies.
A
fascinating Australian story about a man who is certain he has unearthed a
painting by the renowned Australian painter Lloyd Rees. While this isn’t
exactly about stolen art, it is about a painting that went missing, and whose
provenance was lost. It depicts just how obsessed we can become with a single
image.
For four decades, I have written about art for publications in the U.S., Europe, and Asia. I have interviewed, among other artists, Frank Stella, Mary Ellen Mark, Dale Chihuly, Deng Lin (the daughter of Deng Xiaoping), the most celebrated Vietnamese contemporary painters, and the leading Japanese ceramicists. My ideal vacation is to wander the cobblestone streets of Italy, walking into a church to see the art of Caravaggio, Raphael, and Bernini. On a trip to Venice, I saw the immense illusionist ceiling painting by Giovanni Fumiani in the church of San Pantalon. Looking up at angels swirling in heaven, the idea for my second novel was born.
I am married to an auction veteran and have written on art and antiques in an earlier life so Frayn’s satirical farce hits all the right notes for me. A farce without slamming doors but plenty of misunderstandings and self-inflicted confusion.
Martin Clay, a philosopher turned amateur art historian and art expert, tumbles down the rabbit hole of self-delusion as he convinces himself that a painting he barely glimpsed is a lost Bruegel. He searches countless documents to find the facts that he twists to prove his hunch leading the reader on a deep dive into Dutch political and art history. Moral equivocation, adultery, tax evasion, double-dealing, plot twists and turns—everything a good farce should be.
Headlong begins when Martin Clay, a young would-be art historian, believes he has discovered a missing masterpiece. The owner of the painting is oblivious to its potential and asks Martin to help him sell it, leaving Martin with the chance of a lifetime: if he could only separate the painter from its owner, he would be able to perform a great public service, to make his professional reputation, perhaps even rather a lot of money as well. But is the painting really what Martin believes it to be? As Martin is drawn further into…
Shirley Jackson award-winner Kaaron Warren published her first short story in 1993 and has had fiction in print every year since. She was recently given the Peter McNamara Lifetime Achievement Award and was Guest of Honour at World Fantasy 2018, Stokercon 2019 and Geysercon 2019. She has also been Guest of Honour at Conflux in Canberra and Genrecon in Brisbane.
She has published five multi-award winning novels (Slights, Walking the Tree, Mistification, The Grief Hole and Tide of Stone) and seven short story collections, including the multi-award winning Through Splintered Walls. Her most recent short story collection is A Primer to Kaaron Warren from Dark Moon Books. Her most recent novella, Into Bones Like Oil (Meerkat Press), was shortlisted for a Shirley Jackson Award and the Bram Stoker Award, winning the Aurealis Award. Her stories have appeared in both Ellen Datlow’s and Paula Guran’s Year’s Best anthologies.
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.
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When I was a young man reading my first books about the Second World War I was struck by the dimensions of Germany’s war in the East. Battles at El Alamein, Monte Cassino, and Normandy were familiar to me, but suddenly there emerged dozens of new battlefields in the East, most dwarfing the Anglo-American experience of the war, which I’d never heard of. My curiosity drove my reading and, as the saying goes, the more I knew, the more questions I had. Thirty years on, and ten books under my belt, has not yet satisfied that curiosity, but at least, thanks to Shepherd, I can share some of it.
Admittedly, this is neither a cheap book nor a light read (it has 1,364 pages), but it remains a landmark work that no serious scholar of Operation Barbarossa can afford to ignore. As volume 4 of the semi-official German history of the war it concerns mainly German plans, operations, and occupation policies, although some sections do deal with Soviet responses as well as the early contributions of German allies to the invasion. It is the work of six German historians with generally even quality throughout, although the military chapters by Klink and Hoffmann are now somewhat dated. Overall, a work of superb scholarship.
Nine months after the beginning of the Second World War, German dominance over much of Europe seemed assured. Hitler not only stood on the pinnacle of his popularity in Germany but more than ever his ideological fixations and political calculations determined German war policy. This volume, the fourth in the acclaimed Germany and the Second World War series, examines the thinking behind the decision to go to war with the Soviet Union which was to prove the undoing of the German war effort. The authors examine in revealing detail the military and political policies behind the attack on the Soviet…
I’ve had a life-long interest in genocide dating back to my teenage years, when I read Simon Wiesenthal’s book The Murderers Among Us. Wiesenthal introduced me to the idea that governments sometimes murdered innocent people and could elude justice for their crimes. The question of human evil interacted with my theological interest in the problem of evil generally. Both genocide scholars and theologians were posing similar questions: how could people or God permit the occurrence of wanton evil when it was in their power to avoid it? And what should we do about genocide after it has happened? These questions launched my research into genocide and continue to fuel my study of this topic.
The trials of Nazi war criminals are an important but subsidiary theme in Mary Fulbrook’s book. In Francine Hirsch’s study, the most significant trial of top-ranking German officials takes center stage, the International Military Tribunal at Nuremberg. Unlike most previous analyses of Nuremberg, which depict the Soviets as minor actors who, if anything, were impediments to the quest for justice, Hirsch insists that Soviet contributions were essential cornerstones of the trial’s success. This may seem an unlikely role for a totalitarian country already responsible for terror famines in Ukraine, the atrocious show trials of the 1930s, and the senseless murder of 20,000 Poles in the Katyn Forest in 1940. Nonetheless, as Hirsch cogently argues, without Soviet participation the trial may never have occurred. The glory of her book is its insistence on the counterintuitive and contradictory nature of reality, in which, against all expectations, an authoritarian regime led by a…
Organized in the immediate aftermath of World War Two by the victorious Allies, the Nuremberg Trials were intended to hold the Nazis to account for their crimes - and to restore a sense of justice to a world devastated by violence. As Francine Hirsch reveals in this immersive, gripping, and ground-breaking book, a major piece of the Nuremberg story has routinely been omitted from standard accounts: the part the Soviet Union played in making the trials happen in the first place.
Soviet Judgment at Nuremberg offers the first complete picture of the International Military Tribunal (IMT), including the many ironies…
Gerhard Weinberg fled Germany at the end of 1938 and experienced the first year of World War II – including the beginning of the Blitz – in England. He completed his PhD after serving in the US Army of Occupation in Japan, researched the captured German documents, established the program for microfilming them, and after writing an analysis of the origins of World War II decided to prepare a book covering the war as a whole.
A truly extraordinary examination of the army that would do a majority of the fighting and suffer as well as inflict the largest portion of the military casualties of the European part of World War II. The "Bibliographic Essay and Selective Bibliography" is extraordinarily helpful in its account of the fate of Soviet archives and publications over the years.
Germany's surprise attack on June 22, 1941, shocked a Soviet Union woefully unprepared to defend itself. The day before the attack, the Red Army still comprised the world's largest fighting force. But by the end of the year, four and a half million of its soldiers lay dead. This new study, based on formerly classified Soviet archival material and neglected German sources, reveals the truth behind this national catastrophe.
Drawing on evidence never before seen in the West-including combat records of early engagements-David Glantz claims that in 1941 the Red Army was poorly trained, inadequately equipped, ineptly organized, and consequently…
Gerhard Weinberg fled Germany at the end of 1938 and experienced the first year of World War II – including the beginning of the Blitz – in England. He completed his PhD after serving in the US Army of Occupation in Japan, researched the captured German documents, established the program for microfilming them, and after writing an analysis of the origins of World War II decided to prepare a book covering the war as a whole.
The author provides an analysis of the initial stages of the fighting on the Eastern Front that effectively revises several of the prior generally accepted views of that critical portion of the war. Here is one book that extensively utilizes German sources without becoming enslaved by them as too many works appear to become.
Operation Barbarossa, the German invasion of the Soviet Union, began the largest and most costly campaign in military history. Its failure was a key turning point of the Second World War. The operation was planned as a Blitzkrieg to win Germany its Lebensraum in the east, and the summer of 1941 is well-known for the German army's unprecedented victories and advances. Yet the German Blitzkrieg depended almost entirely upon the motorised Panzer groups, particularly those of Army Group Centre. Using archival records, in this book David Stahel presents a history of Germany's summer campaign from the perspective of the two…
I was born on April 22, 1939, just over four months before the start of World War II, and the very first words I can remember reading were a big black headline in August 1945: The War is Over. Ever since, I’ve been fascinated with that war, and about 75 years after it ended, I felt moved to write a book about how it began. Since I hold a PhD in English from Princeton, taught English at Dartmouth for nearly forty years, and I’ve been studying, teaching, and writing about literature for sixty years, I decided to make it a book about literature: the fiction, poetry, and drama inspired by World War II.
Irresistibly clear and readable, this book explains the biggest mistake that France and Britain made before war broke out. Gripped by “ideological anti-Communism,” they simply could not bring themselves to forge an alliance with the Soviet Union against Hitler’s Germany. As a result, Hitler beat them to the punch. After he struck his own deal with Stalin and thus neutralized any Soviet threat to his belligerence, Germany and the Soviets carved up Poland between them. And even though Britain and France had pledged to defend Poland, the only thing they did for that poor, brave nation after Hitler invaded it was to declare war on Germany—and then do nothing for the next seven months of what came to be known as the “joke war.”
At a crucial point in the twentieth century, as Nazi Germany prepared for war, negotiations between Britain, France, and the Soviet Union became the last chance to halt Hitler's aggression. Incredibly, the French and British governments dallied, talks failed, and in August 1939 the Soviet Union signed a nonaggression pact with Germany. Michael Carley's gripping account of these negotiations is not a pretty story. It is about the failures of appeasement and collective security in Europe. It is about moral depravity and blindness, about villains and cowards, and about heroes who stood against the intellectual and popular tides of their…
I am a professional historian who has been writing books for more than forty years. Most of the books have been about war and dictatorship in the first half of the twentieth century. My last book, The Bombing War: Europe 1939-1945, developed my long interest in air war history, which goes back to my first major book written in 1980 on air warfare in World War II.
There are a great many books written on the Soviet-German conflict. In this volume, Fritz makes the most of all the recent research and his familiarity with Hitler’s military career, to create a vibrant narrative of the largest conflict in World War II. What makes this account different is Fritz’s ability to weave together the story of the campaigns and the murderous, genocidal strategies pursued by the German invader. Hitler waged two wars, against the Red Army and against the Jews. Fritz charts their twin course, making greater sense of the nature of a savage and merciless war.
On June 22, 1941, Germany launched the greatest land assault in history on the Soviet Union, an attack that Adolf Hitler deemed crucial to ensure German economic and political survival. As the key theater of the war for the Germans, the eastern front consumed enormous levels of resources and accounted for 75 percent of all German casualties. Despite the significance of this campaign to Germany and to the war as a whole, few English-language publications of the last thirty-five years have addressed these pivotal events. In Ostkrieg: Hitler's War of Extermination in the East, Stephen G. Fritz bridges the gap…
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