Wikipedia

User:TarkusAB/sandbox/Gardner2

< User:TarkusAB‎ | sandbox

Isabella Stewart Gardner Museum theft

Background edit

On January 15, 1990. Two people that looked like police officers appeared at the MFA and rang the buzzer. The night watchman went to go search for his supervisor, needing his approval to let anyone in, but by the time they got back to the entrance, the officers had disappeared.[1]

Boston gangster Louis Royce had cased the Gardner Museum for theft as early as 1981. He was planning a heist with Richard Devlin during their time in the Rossetti gang.[2] He wanted to rob the museum for money, not to secure a prison release or a plea bargain deal. In the early 1980s, he visited the museum several times and devised a plan.[3] The plan was to light up smoke bombs during one of the concerts in Tuesday evenings in the Tapestry Rroom, and in the ensuing chaos, rush the galleries in the Blue and Yellow Room and make a quick getaway.[3][4] The Blue and Yellow rooms were near the front entrance.[5] One piece he really wanted to take was Lamentations Over the Dead Christ (Raphael, 1504).[3] Royce and Devlin stole a cherrypicker and posed as members of an emergency utility crew. They rolled up to the museum and thought they'd be able to open the window and steal the piece. Once Royce noticed the window was locked, he waved off Devlin.[6]

The FBI learned of Royce's interest in robbing the museum when undercover agents tried negotiating the purchased of art Royce and Ralph Rossetti stole from a Newton home.[6] The FBI warned the Gardner Museum they were being sized up in 1981 by Royce and Rossetti.[7] The FBI described Royce's plan of using smoke bombs, and also they may disguise themselves as police officers or women in distress in try to get in late at night. Also may have accomplice within who knows security system.[5]

Royce was in prison at the time of the robbery.[8] The FBI believes the robbery stemmed from Royce's original plan to rob the museum.[9]

Stolen artwork edit

Thirteen works were stolen worth an estimated $500 million.[10] The eclectic mix of items has puzzled experts.[11] The thieves did not enter the third floor where Titian's The Rape of Europa hung, one of the most valuable paintings in Boston.[12] They also passed works by Raphael and Michelangelo but left them undisturbed.[13][11][14]

The most valuable works were taken from the Dutch Room. Experts believe the thieves primarily targeted works by Dutch painter Rembrandt (1606-69).[15] These included A Lady and Gentleman in Black and The Storm on the Sea of Galilee.[16][17] The latter was the painter's only known seascape and the most valuable of the Rembrandt works stolen;[17][18] estimates have placed its value at over $100 million since the robbery.[19] The small Rembrandt self-portrait etching was previously stolen in 1970 but returned soon after.[20] Landscape with Obelisk was painted by Rembrandt's pupil Govert Flinck (1615-60), but was attributed to Rembrandt until the 1980s.[21] The most valuable painting stolen that night was The Concert by Dutch painter Vermeer (1632-75).[22] It is potentially the most valuable stolen object in the world;[22] as of 2015, it was valued at $250 million.[20] Also stolen from the Dutch Room was a Chinese bronze gu, a beaker traditionally used for wine. It was one of the oldest works in the museum, dated to the Shang Dynasty in the 12th century BC.[23] Its estimated value is only several thousand dollars.[11]

In the Short Gallery, five sketches by French artist Edgar Degas (1834-1917) were stolen,[24] worth a combined value of under $100,000.[11] Also taken was a 10 inch tall eagle 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.[25] The sole item stolen from the Blue Room was Chez Tortoni by French painter Édouard Manet (1832-83).[26]



Chez Tortoni (c. 1875) by Edouard Manet was the only work stolen from the first floor. Depicted a gentleman in a Parisian cafe. The frame was left in the security director's office.[26]

Five works by Edgar Degas were stolen. Three Mounted Jockeys (1885-1888) Leaving the Paddock (19th Century), Procession on a Road Near Florence (1857-60) Studies for the programme de la siree artistique du 15 juin 1884.[24]

The Eagle finial (1813-14) 10 inches. GIlded bronze eagle finial decorated top corner of framed flag for Napoleon's Imperial Guard. There is a $100,000 reward for information leading to the return of the piece.[25]

The most expensive and well known works were taken from the Dutch Room.[15] Experts believe the thieves were primarily targeting the Rembrandts.[15]

Chinese bronze gu. Gus were ancient Chinese beakers traditionally used for wine. One of the oldest works in the museum. Dated to 12th century BC, Shang dynastry.[23]

Landscape with Obelisk (1638) by GOvaert Flinck, pupil of Rembrandt. Gardner died beliveing it to be a Rembrandt, it was not associated to Flinck until the 1980s.[21]

Etching self-portrait of Rembrandt (c 1633) about postage stamped size.[27]

A Lady and Gentleman in Black 1633. Hung on same wall as The Storm. Dutch painter Rembrandt (1606-1669). [16]

The Storm. 1633. Only known seascape by Rembrandt.[17]

The Concert 1663-1666. Johannes Vermeer Dutch 1632-75. The most valuable painting stolen from the museum, and potentially most valuable stolen object in the world.[22]



The Storm on the Sea of Galilee was the most valuable Rembrant in the museum.[18] Gardner purchased it from a London Gallery in 1898 for $125,000. Estimates have placed its value at over $100 million since theft.[19]

The Concert was the most valuable piece stolen.[20] It was Gardner's first major acquisition, purchased at auction for $5,000 in 1892.[20] As of 2015, it was valued at $250 million.[20]

The Chinese ku was from the Shang dynasty. dating bak to 1200 BC. estimated value several thousand dollars.[11]

The five Degas sketches combined value less than 100K.[11]

Anthony Amore, security director of museum calls the mix of what they took and didn't take "the biggest mystery in the entire case"[11] Rape of Europa arguably the most valuable painting in all of Boston, but thieves never went near it or anything else on the third floor.[12]

The thieves did not disturb a Michelangelo drawing nearby.[11][14]

This was the same etching stolen and returned from the museum in 1970.[20]

Immediate aftermath edit

Abath said one thief looked about 5'9", late 30s, slim with gold wire glasses and a probably fake mustache. The other looked about in his early 30s, 6' tall and heavier with chubby cheeks. Also a mustache.[28] Abath did not like the sketches the police drew.[28]

Several weeks after the theft, museum security consultant Steven Keller was called in to review the Aerotech motion detector equipment. He determined it was working just fine.[12] Because of this, and Abath's conduct that noight, investigators have remained suspicious of him.[12] 80%of major art heists involve assistance of an insider.[12]

Abath was called before grand jury in 2010, where he continued to maintain his innocence.[29] FBI have been watching his bank account.[29] Abath's colleague JonPaul Kroger noted that Abath and other watchmen were trained to always take down names of police and badge numbers and confirm with Boston Police HQ before allowing anyone in. Abath was also unreliable, often late or calling in sick.[30]

Door opening. Abath maintains that he did this routinely to make sure the outside door was locked. Some speculate it was meant as a sign to the robbers that they could begin their theft.[30] Kroger explained that if Abath had truly done this on a routine bases, the computer printouts would have shown this, and supervisors would have detected it as a security breach and put a stop to it.[31] Kroger maintains that the doors should always remain shut except in extreme cases like fire.[31]

FBI took possession of all museum's security equipment and surveillance reports soon after robbery.[31] In 2015, FBI and US attorney's office in Boston released video from night before robbery showing ABath buzzing in a stranger in what appeared to be a hatchback, and chatting with him at the security desk.[31] FBI has not been able to identify the stranger.[31] Abath told investigators he did not recognize the man and had no memory of the incident.[32] In his investigative reporting, Kurkjian was told by several former museum guards that the stranger was Gardner's deupty security chief, Larry O'Brien.[32] One security guard called in the tip to the FBI but never heard back. Those with ties to O'Brien also were never contacted by the FBI following the guard's tip.[32]

By mid-afternoon, FBI had taken over investigation.[33]

Perhaps the gueards were aware of the button and new to get Abath away from the desk.[18]

Abath and his roommates had spoken often about the museum's poor security.[34]

Investigation edit

Royce wants the heist solved and spoke with investigative reporter Kurkjian on several occasions.[8] Royce shared his plan for the heist with others, and he believes he is owed 15% of the theft profits.[a][8] Royce also suspects that maybe they were taken to get someone out of jail. But obviously that has not occurred, so now he wants them returned instead of unseen laying somewhere.[8] Royce believes Stephen Rossetti may have ordered it, or passed on the score to someone who took it on. Other gang members who were aware of the plan have died.[35]

Myles J. Connor and William Youngworth edit

Some time after the robbery, prison inmate Myles J. Connor Jr. told authorities he could assist in returning the Gardner works in exchange for the museum's posted reward and his freedom.[36] Connor was a notorious New England art thief, having previously stolen a Rembrandt from the city's Museum of Fine Arts in 1973,[37] as well as art from the Woolworth family estate.[38] He was in jail at the time of the robbery, but told authorities that he believed the masterminds were criminals Bobby Donati and David Houghton. Connor shared that he and Donati cased the museum 15 years earlier,[36] and that Donati took interest in the finial.[36] Connor failed to mention if Donati took interest in the flag the finial sat on top of, contradicting evidence at the scene suggesting the thieves attempted to steal the whole flag.[36] Investigators also challenged Connor on Donati's and Houghton's appearances which did not fit the witness descriptions. Connor suggested they probably hired lower-level gangsters to carry out the robbery.[36] Both Houghton and Donati could not be interviewed as they died within two years of the robbery, the first from an illness, and the second was murdered.[36] When investigators did not give Connor his demands, he suggested they speak with criminal William P. Youngworth.[36]

In 1997, the FBI raided Youngworth's home, acting on Connor's word that he may be able to locate the Gardner works.[39][37] The raid caught the attention of journalist Tom Mashberg, who began talking with Youngworth in July that year about the theft.[39][37] One night in August 1997, Youngworth called Mashberg and told him he had proof he could return the Gardner paintings under the right conditions.[40] That night, Youngworth picked up Mashberg from the Boston Herald offices and drove him to a warehouse in Red Hook, Brooklyn.[40][41] Youngworth led him into the warehouse and 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 authentic stolen Rembrandt, 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.[42] Mashberg wrote about his experience in the Boston Herald, leaving out details to hide Youngworth's identity and the painting's location.[43] He reported that his "informant" (presumably Youngworth) told him the robbery was pulled off by five men and identified two: Bobby Donati was one of the robbers, and David Houghton was responsible with moving the art to a safe house.[44] The FBI discovered the location of the warehouse several months later and raided it, finding nothing.[45]

The veracity of Youngworth's claims and the authenticity of the painting shown to Mashberg is disputed.[46] Youngworth supplied paint chips to Mashberg for validation, and federal authorities reported that they were indeed from Rembrandt's era, but did not match oils used for The Storm on the Sea of Galilee.[46] The way Mashberg described the painting as being "unfurled" has also been scrutinized, as the stolen painting was covered with a heavy varnish that would not roll easily.[46] Federal authorities and the museum began working with Youngworth after Mashberg's story was published, but Youngworth made negotiations difficult.[45] He would not work with authorities unless his demands could be met, which included dropping charges against him and releasing Connor from jail.[45][47] The museum loaned $10,000 to Youngworth at his request to continue pursing the art, but it was never repaid.[47] The United States attorney overseeing the case eventually ceased talks with Youngworth unless he could provide more reliable evidence that he had access to the Gardner works.[45] 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 Gentleman in Black.[48] A joint statement from the museum and federal investigators announced that the chips were not from the stolen Rembrandts, though they did test as being from 17th century paintings and could not rule them out as being from The Concert.[49] Mashberg's account remains the most credible sighting of any of the stolen works.[46]



William P. Youngworth is a petty criminal. Tom Mashberg is an experienced journalist.[39]

Mashberg began dealing with Youngworth in July 1997 after an FBI raid on Youngworth's house caught Mashberg's attention. THe RBI wrote in their report of the raid that they though Youngworth could assist in recovery of the Gardner paintings.[37]

Youngworth had ties to Myles J. Connor Jr., a notorious art thief in New England who had stolen a Rembrandt in the past from the MOFA in 1973.[37]

Mashberg met Youngworth when authorities began to question him about the Gardner theft.[37]

In August 1997, Youngworth called Mashberg and told him that he had proof that, under the right conditions, he could return the Gardner paintings.[40]

Youngworth picked Mashberg up that night from the Boston Herald offices.[40]

Youngworth drove Mashberg to a warehouse in the Red Hook neighborhood of Brooklyn.[41]

Youngworth led Mashberg into the dark warehouse and into a storage unit with several large cylinder tubes. He removed one painting from its tube, unfurled it, and showed it to Mashberg with his flashlight. To Mashberg, it appered to be The Storm on the Sea of Galilee. There was cracking along the canvas and the edged were cleanly cut, matching how the museum said it was cut.[42]

Mashberg reported that he had seen the painting in the Herald with sparse details to hide Youngworth's identity and the painting location.[43]

Mashberg reported that his informant (presumably Youngworth) told him the robbery was pulled off by five men. One of the robbers was Bobby Donati, and David A. Houghton was responsible for moving the art to a safe house. Both men were already dead when the article was published. The informant did not identify the three other men.[44]

The event remains the most credible that any of the thirteen stolen works has been seen.[46]

But the account has had several holes poked in it.[46]

Youngworth gave some paint chips to Mashberg to verify the story. Federal authorities tested the chips and found them dated to Rembrandt's era but not a match to The Storm. The museum has stated the heavily varnished painting could not have been unfurled in the way Mashberg described. Even Mashberg now doubts he saw the original, since nothing came of it.[46]

The museum loaned Youngworth $10,000 to continue his pursuit of the artwork, but it was never repaid.[47]

In a note from Youngworth to Mashberg, cryptically worded:

The Gardner heist was planned by Richard Devlin of the Rossetti gang. Youngworth stressed to Mashberg to be careful dealing with the Rossetti gang, recalling their violent tendencies in his past dealings with them.[50]

FBI discovered location of warehouse and raided it several months later, found nothing.[45]

Youngworth continued to balk at working with federal authorities unless his list of demands could be met.[45] Including dropping of charges against him and releasing Connor.[47]

The US attorney on the case said they would not engage in further talks with Youngworth until they had more concrete evidence they were dealing with the real stolen Gardner works.[45]

Youngworth gave a vial of chips to Mashberg, purportedly from the Storm, and 25 color photographs of The Storm and A Lady and Gentleman in Black.[48]

Joint statement from museum and federal investigators, not chips from the stolen works.[49]

The chips did test as being from a seventeenth-century painting, when Rembrandt worked. They couldn't rule out that they were not from the stolen Vermeer.[49]

McShane edit

Haul estimated at $200 million in 1990.[51]

Thomas McShane 22 years worked for FBI as their an undercover art theft agent.[52]

Difficult to tell if the thieves were amateurish and just grabbed random items or experts and knew exactly what they wanted.[53]

The fire alarms being tripped as a pre-theft distraction was the "calling card" of the IRA and the Ulster Volunteer Force. IRA has been known for their worldwide art thefts going back decades, and the UVF was a rival gang starting to follow suit.[54]

Boston was filled with IRA and UVF agents.[54]

Whitey Bulger headed Winter Hill gang, mob that rivaled the Patriarca Italian Mafia family that also fought for power in the city.[54]

Bulger had strong ties with IRA, along with Boston police department and FBI. Within realm of possibility for him to acquire Boston police uniforms or arrange for legitimate cops to do the heist.[54]

UVF had deliberately set off an alarm when they robbed the Sir Alfred Bite collection in Ireland.[54]

Alarm tripped within hour of thieves' entry in both cases.[55]

Two men in car, 5'10" medium build, and 6'1" heavy build. Not in police uniform.[55]

Dent in wall by finial, appears the crooks were determined to take it off and had a struggle.[55]

McShane considered the possibility they were real cops. Acted with confidence, had police radios with authentic police radio chatter.[55]

The "cops" also seemed to know their way around a crime scene. No fingerprints, footprints, hair, DNA sample, nothing. Duct tape and handcuffs were prevalant models available at most stores. Guards said the men were not wearing gloves.[56]

McShane does not believe Cahill was directly involved.[57]

McShane adopted new undercover identity as art dealer Thomas Russell.[58]

McShane and local Boston agents followed some leads but were getting nothing. A fence that said he had connects stood McShane up. Their ties to the IRA and Bulger did not produce any worthwhile information.[58]

In 1999, 18 Boston FBI agents accused of illegal practices including John Connolly. The corruption could explain why McShane was not getting any worthwhile information.[59]

Lead investigator in Boson was Daniel J. Falzon.[59]

Followed leads to Greece and Canada.[59]

Narrowed suspects down to pair. First was Brian Michael McDevitt who attempted to rob similar paintings from the Hyde Collection in Glen Falls NY. Other was hotel manager Michael Brian Morey. Had plan to hijack FedEx truck to gain access to museum. Had duct tape handcuffs, sharp instruments to cut the paintings. The plan was foiled when they were stuck in traffic.[60]

McDevitt was brought in for questions. He naturally denied knowing anything. He was a known flag afficionado, could explain finial. He wasn't held for lack of evidence, and afterward moved to California and got involved with television and film writing.[38]

If the IRA/UVF did it, they were probably sold to someone in Japan or the Arab nations to finance their battle against English rule.[38]

A couple legal copies of the painting were spotted in Boston and Japan.[38]

Myles Connor did Woolworth Estate heist.[38]

Connor was in jail at time of robbery, but told authorities he could help locate the works in return for freedom and the reward.[36]

Connor told authorities that he believes the robebry was done by Bobby Donati and David Houghton. Connor and Donati had cased the Gardner museum 15 years before.[36]

Connor mentioned the Donati found interest in the "worthless bird" on a Napoleonic flag. He did not mention any interest in the flag, which contradicts with the fact that the thieves tried to steal the whole flag.[36]

Invesitagors challenged Connor on that Donati and Houghton did not fit the robber descriptions. Connor said that they probably hired lower-level thugs to do the mission.[36]

Within two years of robbery Houghton died of an illness and Donati was murdered as a result of gang wars.[36]

When investigators did not give Connor what he wanted, he had an associate take the guy to the Red Hook site and show The Storm.[36]

Boston FBI asked Connot and YOungworth to produce one of the minor works (Degas ink, ku) and then they'd talk. Nothing has happened.[61]

Lead that some paintings were expertly duplicated and pawned for big money to corporate barons who believe they have the real thing.[62]

Statute of limitations expired in 1997. This means the two thieves are off the hook as long as they are not caught knowingly in posession of stolen goods.[62]

In 1994, passed Theft of Major Artwork law that calles for sentences for up to 10 years for stealing art worth 100,000 or over, or stealing something >100 years old.[62]

Empty frames still hand in museum.[63]

Her will decreed nothing should be moved, removed, added.[63]

Wittman edit

Largest property crime in US history.[64]

Hundreds of FBI and police have investigated the theft.[65]

Tourists were visiting Japanese artists home when they spotted what they believed was the Storm. An FBI agent and Gardner curator traveled to Tokyo and found a copy, not the original.[66]

Links to the mob have surfaced repeatedly.[67]

Anne Hawley's Burden edit

In April 1994, museum director Anne Hawley received an anonymous typewritten letter from someone attempting to negotiate a return of the artwork.[68] The writer explained that they did not know the identity of the thieves, but were approached by a third party to handle negotiations.[69] They explained that the artwork was stolen to reduce a prison sentence for someone, but as the opportunity had passed, there was no longer a motive to keep the artwork and they wanted to negotiate a return.[70] The writer explained that the artwork was being held in a "non-common law country" under climate controlled conditions.[71][69] They wanted immunity for themselves and all others involved, and $2.6 million for the return of the artwork, which would be sent to an offshore bank account at the same time the art was handed over.[69] If the museum was interested in negotiating, they should print a numeral "1" next to the exchange rate of the Italian Lira in The Boston Globe.[72] To establish credence, the writer conveyed information only known by the museum and FBI at the time.[68]

Hawley felt this was a strong lead.[73] She contacted the FBI, who then contacted the Globe. In the May 1, 1994 edition of The Boston Globe, a stray "1" was printed in the currency exchange table.[74] Hawley received a second letter a few days later in which the writer acknowledge the museum was interested in negotiating, but had become fearful of what they perceived as a massive investigation the federal and state authorities had gone on to identify the writer.[75] The writer explained that they needed time to evaluate their options, but Hawley never heard from the writer again.[76]


Hawley received note in April 1994. Typewritten unsigned letter from someone who conveyed knowledge of the theft only the museum and FBI knew at the time.[68]

Letter said that the art was still together and being cared for in a climate controlled conditions.[71]

Letter launched two week pursuit to settle negotiations.[70]

Hawley only on job for six months before theft.[70]

Letter stated that paintings were stolen to reduce a prison sentence for someone, but as that opportunity had gone away, there was no longer a motive to keep the artwork. Best option was to negotiate a return.[70]

Writer stated that did not know identity of thieves but was dealing with a third party who approached them to carry out negotiations.[69]

Artwork currently held in "non-common law country".[69]

Negotiator wanted 2.6 million for their return (estimating value of $260 million for all artwork). 2.6 would be sent to off shore bank account at same time art was handedn over.[69]

Negotiator and thieves also wanted immunity from prosecution as part of the deal.[69]

He asked that the museum get the Boston Globe to print a numeral one in the currency column next to the Italian Lira exchange rate in the Sunday Globe business section.[72]

Hawley felt that this was a strong lead.[73]

Museum contacted FBI who contacted Globe. The May 1, 1994 Globe printed a stray numeral 1 in the currency exchange table to show the negotiator they were interested in negotiating.[74]

Hawley receive another typewritten letter several days later. In the letter, the writer wrote that they were aware of the massive investigation the federal and state authorities went on in the previous week, attempting to track down the writer's identity.[75]

Writer said they needed time to evaluate their options, potentially would give clues on where to apply pressure for collection.[76]

Hawley never heard from the person again.[76]

Kurkjian had criticized the museum and Hawley for not pursuing the public's assistance to locate the artwork.[77]

Nichols saga edit

Explained page 89-91 Kurkjian

Some misc. stuff Kurkjian approx page 92-103 edit

FBI took over the case from state and Boston police believeing that it was likely the artwork could cross state lines.[78]

More than 40 agents assigned to the case immediately.[78]

Number of agents had been dramatically reduced after three months down to one, Daniel Falzon.[79]

Bulger asked his associated to find out who pulled off the crime. Since the museum was located in the Fens, Bulger's turf, he wanted to be paid tribute. His associates could not come up with any strong leads.[80]

Difficulties in cooperation between BPD, FBI, page 98ish

Guarente and Gentile edit

New England criminal Robert Guarente and his friend Robert Gentile have been the focus of some of the FBI's investigation starting in March 2010.[81][82] Guarente died from cancer in 2004,[83] but the investigation began when Guarente's widow Elene Guarente began speaking with the FBI about her deceased husband and his ties with the Gardner paintings.[82] She claims the FBI reached out to her, but the FBI claims she saw an advertisement looking for information and spoke up because she needed money.[82][81] Before she gave any details to the FBI, she phoned Gentile explaining that she knew he was given the paintings and wanted his help in speaking with authorities.[82] Gentile told Elene that he was never given any paintings, and knew nothing of the Gardner painting whereabouts.[84] Elene told the FBI that when her husband got sick with cancer in the early 2000s, he organized a lunch date with Gentile, and her husband told her on their car ride home that he gave Gentile three paintings for safekeeping.[85][86] Gentile called the accusations "ridiculous".[86]

In early 2012, federal authorities indicted Gentile on drug charges after he sold painkillers to an undercover agent. Its likely authorities orchestrated these charges to provide them leverage to get Gentile to share what he knew about Gardner works.[87] Gentile told investigators that he and Guarente had discussed the case casually, but Guarente never had any of the paintings or gave any to him.[88] Gentile submitted to a polygraph test, in which he repeatedly denied any knowledge of the theft or location of the artwork, but the polygraph indicated that he was lying.[89] Gentile maintained he was telling the truth and demanded a retest. During the retest he indicated that Elene had once pulled the small Rembrandt self-portrait from her bra and said it would help pay for her retirement. The polygraph machine indicated Gentile was telling the truth.[90] Gentile's lawyer felt that the veracity of Gentile's claims were being affected by the pressure of an overwhelming amount of federal agents in the room. He organized a smaller meeting with only two federal agents in the hope that it would get Gentile to speak honestly.[90] In the smaller meeting, Gentile maintained that he did not know anything, and would share information to get the reward if he could.[91]

A few days later, the FBI stormed Gentile's house in Manchester, Connecticut with a search warrant.[92] In his basement they found a copy of the Boston Herald from March 1990 with news about the theft with a piece of paper indicating what each piece might sell for on the black market.[92] Gentile's son believed his father did not know the location of the paintings, but did reveal the location of a secret ditch beneath a false floor in the backyard shed.[93] He explained that the ditch flooded a few years ago and his father was upset about whatever was in the ditch.[94] The FBI searched the ditch but found nothing.[93] The FBI pressured Gentile about the ditch but he maintained that he did not know anything.[94] Gentile went to prison for 30 months.[citation needed]

After getting out of prison, Gentile spoke one-on-one with investigative reporter Stephen Kurkjian. Gentile told Kurkjian that he was framed by the FBI and his life was ruined. He explained that he lost access to Social Security benefits and could was unable to visit his daughter before she died while he was in prison.[95] When asked about what could have been in the ditch, Gentile could not recall but believed it could have been small motors.[94] He gave Kurkjian the keys to his shed, and Kurkjian only found yard equipment.[95] Gentile also explained that the list the FBI found in his basement was drawn up by a criminal trying to broker return of the works from Guarente, and was talking to Gentile as an intermediary to Guarente.[96] The account was corroborated by an associate.[97]



Guarente spent most of his time in the 1990s at his home in Waltham, near Boston, and the weekends in his other house in Madison, Maine.[85][98] When in Waltham, Guarente frequented an auto repair garage run by Carmello Merlino in Dorchester, from where he and Merlino ran a cocaine trafficking operation.[85] They were trafficking cocaine up from Philadelphia to New England.[99] Maine police were aware of Guarente's trafficking activities and were monitoring him;[99] they noted that criminals David Turner and Stephen Rossetti were frequent visitors to his Maine estate.[99] Guarente was arrested in 1998 for trafficking, and released on probation in 2002,[98] later dying from cancer in 2004.[83]


In 2005, criminal Robert Guarente's daughter and his best friend told a Boston lawyer that he possibly kept several of the works in a farmhouse in Madison, Maine. FBI agents did not start an investigation on Guarente until 2010 when his widow, looking for money, wanted to talk to the FBI about what she knew.[100]

In 2010, widow of Gentile's friend Robert Guarente told investigators that before her husband died in 2004, he had given two or three paintings to Gentile for safekeeping.[88]

Elene said that her husband gave Gentile paintings in Portland, Maine.[90]

In early 2012, Robert Gentile was indicted on drug charges after selling painkiller medication to an undercover agent. These charges provided leverage to federal authorities to question Gentile on the location of the Gardner works.[87]

Gentile told authorities that he knew Guarente, and they had spoken about the Gardner case, but Guarente never had any of the paintings or gave them to Gentile.[88]

Gentile submitted to a lie detector test.[88]

The agent asked Gentile if he knew the museum was going to be robbed beforehand, if he knew the location of the paintings, and if he ever had possession of the stolen artwork. He said No to all questions, but the machine indicated that he was lying to all questions.[89]

Gentile maintained he was telling the truth and wanted to take the test again. During a retest, he answered yes when asked if he had seen the small Rembrandt self-portrait. He explained that Elene Guarente had pulled it out of her bra and shown it to Gentile a long time ago, and said that it was going to help pay for her retirement. The polygraph machine indicated that Gentile was telling the truth.[90]

Gentile's lawyer felt Gentile's veracity was compromised by the pressure of the amount of federal agents present. They organized a follow-up meeting at the US attorney's office with a less imposing presence by federal agents to hopefully convince get Gentile to speak honestly.[90]

Gentile maintained that he didn't know anything, and he'd speak up to get the reward if he could.[91]

A few days later, FBI agents stormed his house in Manchester,CT. They searched his house and yard for clues. In the basement, they found an issue of the Boston Herald that reported on the theft. With it was a piece of paper with all the pieces written out alongside what each might pull on the black market.[92]

Gentile's son told authorities that although he doesn't think his father knew anything about the paintings, the only place they could be were in the shed, beneath a false floor. Inside, the FBI found a large empty plastic container.[93]

Gentile's son told the FBI that a few years before, a rainstorm had flooded their backyard including the ditch. He remembers never seeing his father as upset as he was about losing whatever was in the ditch. Kurkjian asked Gentile about this, and he said he didn't recall but it could have been a couple small motors.[94]

FBI agents pressured Gentile about the flood, to which he maintained that he didn't know anything.[94]

In January 2014, Kurkjian met Gentile at his home to talk about his experience. In a one-on-one interview, Gentile assured Kurkjian that the feds set him up and ruined his life, that his Social Security Benefits had been cut off, and his daughter died while he was in jail. Gentile gave Kurkjian keys to his shed to prove his point, who investigated but only found yard equipment.[95]

Gentile told Kurkjian a story of who drew up the list of the Gardner painting black market values.[97]

Gentile explained that the list was drawn up by a criminal trying to broker return of the works from Guarente, and was talking to Gentile as an intermediary to Guarente.[96] The account was corroborated by an associate.[97]

FBI focused hard on ties between GEntile, Guarente, and Turner.[81]

Elene Guarente decided to share what she knew when she saw a billboard for a reward. SHe needed money to fix her car radiator.[81]

Her story: In early 1990s as they settled into their new home in Madison, Maine. She remembers Guarente being proud of a painting of a woman in a rocking chair, but doesn't think it looked like A Lady or The Concert. Home was weekend residence. Guarente spent most of his time near Boston, and frequented auto repair garage of Carmello Merlino. in Dorchester. Merlino ran crim out of the garage including cocainw trafficking.[85]

In late 1997, Merlion began talking about being able to recover the paintings and that Guarenete could help with that.[85]

Connor was in prison because of pleading guilty to bank robberies.[85]

Guarente was being investigated by Maine police for drug trafficking in 1990s. David Turner and Stephen Rossetti among frequent visitors to Maine estate.[99]

Guarente was aligned with Frank Salemme.[99]

Guarente was involved in a cocaine trafficking network connected to Philadelphia, bringing up to New England.[99]

Guarente told an informant that his parnter was Robert C. Luisi Jr. in the Philadephia mob.[98]

Guarente was arrested for cocain trafficking in 1998.[98]

Gentile ran high stakes card games at the Guarente house in Waltham at this time.[98]

Guarente released on probation in AUgust 2002.[98]

Within next year or so, GUrante organized Portland lunch and have Guentile paintings.[83]

Earle E. Berghman, friend of Guarente tried to make a similar connection.[83]

About a year after GUarente's death in 2004, Berghman was approached by Guarente's daughter, who recalled a painting similar to Storm was handing in GUarente's living room.[83]

Berghman, Guarente's daughter, and a lawyer gathered what they claimed were paint chips and presented them to the museum, but they tested negative.[101]

The case was never known to the FBI. Guarente was not investigated until later.[82]

Elene Guarente was having financial difficulties after her husband's death. She denies she summoned feds, but maintains the FBI reached out to her in March 2010 to talk to her about Gardner paintings.[82]

Elene did not talk and instead reached out to Gentile, GUarente's good friend, saying I know my husband gave you the paintings, you need to come to Maine and talk to Berghman. If you don't come I'm calling back the feds.[82]

Gentile was confused but went anyways. They met in April 2010 at a food court in a Portland mall. Berghman told Gentile "I know Bobby gave you the paintings". Gentile denied the accusations.[84]

Elene told FBI that in early 1990s her husband showed her a painting, never spoke about paintings again until 2002 or 03 when he was sick with cancer. THey met Gentile for lunch in Portland. On way home, Guarente told elene that he gave Gentile 3 paintings for safekeeping. Gentile called the accusation "rediculus" and claims no paintings were handed to him.[86]

David Turner edit

In November 2010, several months after first being contacted by Elene, Gentile received a letter from David Tuerner, serving a 30 year sentence in prison for trying to rob an armored car headquarters. Turner knew Gentile through Guarente. Turner was hoping Gentile could call former TUrner girlfriend to help in recovery of paintings.[102]

Gentile initially wanted to stay out of it, but decided it would be in his best interest to help, could get him out of the drug charges.[103]

With FBI working with him, Gentile spoke with the girlfriend, and she told Gentile that Turner wanted him to speak with two of his friends in Boston, both ex-convicts.[103]

One was Richard Gillis, who was associated with Rossetti crime gang in East Boston like Turner.[103]

FBI wanted Gentile to meet these men and an FBI agent to go with him, but Gentile did not want to cooperate.[103]

Turner met RObert GUarente sometime in high school.[104]

Tuner has been one of the FBI's key suspects. FBI thinks he may have been one of the thieves. Turner denies any involvement.[105]

In the months before and after the theft, the Mass State Police were watching Turner because of his suspected involvement in a cocain trafficking operation running through Dorchester garage run by Carmello Merlino.[106]

18 months after heist, Turner seen bringing "Chinese vase" into a Boston lawyer office. He frequently brought antiques in to sell to try and sell them to a friend in the office. The lawyer was later interviewed and said he did not buy the item and did not think it was from the heist.[107]

Turner drove to Florida in March 1990, days before the heist to pick up a large amount of cocaine.[108]

While in Florida, Turner used his credit card to purchase hundreds of dollars worth in merchandise from shops the specialized in electronic equipment that could monitor police calls and determine if a person was targeted for surveillance.[109]

That purchase was made on March 15, 1990. Turner's signature on recepit.[110]

Turner's credit card was used next on March 20 to rent a car in Fort Lauderdale. Turner's signature used but another SSN. Someone other than Turner may have been using credit card.[110]

Turner was back in Boston at least a few days after the robbery.[111]

Abath thinks Turner looked like one of the pair.[111]

Merlino and Pappas arrested in 1992 for cocain trafficking, not Turner.[112]

When Turner's associate Pappas was spilling the beans to police about Turner's involvement in some break-ins in 1992, he did not mention the Gardner heist.[113]

Merlino asked Turner to try and recover stolen Gardner paintings. Turner tried to locate them but could not, only saying they were in the basement of a church in South Boston. Searches turned up nothing.[113]

A week before Pappas was to testify against Turner for some home invasion charges, Pappas was murdered by two masked men. As he died, he told his girlfriend he believed Turner was behind it.[114]

The woman in the Canton house did not testify in hear her boyfriend would be killed, as he was threatened.[115]

Turner set free.[115]

Merlino served his time for coke, began working on other schemes. FBI continued to press him to facilitate return of paintings if he knew anything.[116]

In September 1998, FBI told Hawley that they knew who stole paintings. One in jail, one on street, one dead.[117]

The thief who died of drug overdose was rumored to be George Reissfelder, part of Merlino's gang.[117]

No clues found in searches of his apartment, but his brother and sister told investigators they recalled seeing a painting similar to Chez Tortoni hanging in his bedroom.[117]

Reissfelder looked like the older of the two thieves. He was friends with Turner, hung out in Merlino's shop.[118]

Authorities ran searches of homes he or his relatives lived in, found nothing.[118]

Reissfelder died in July 1991.[118]

Merlino wanted to negotiate a return of the paintings in the 1990s.[119]

Merlino organized the heist of an armored van headquarters building. Involved were Merlino, his nephew, Turner, Rossetti, and FBI informant Anthony Romano.[120]

The men were all arrested in a sting operation the morning the robbery was going to occur.[121]

Turner was convinced the FBI let the plot proceed so they could arrest Turner and pressure him for information about the Gardner paintings. He maintains he didn't know anything.[122]

They were all sent to prison in 2002 with long sentences over 30 years.[122]

Turner's expected release from jail is in 2025.[123]

A New Theory, good summary edit

Of the FBI's top ten art crimes, only the Caravaggio stolen in 1969 from an Italian chapel is older than the Gardner heist.[124]

Statute of limitations expired in 1995. Thieves and anyone who participated in theft cannot be prosecuted. Federal prosecutors have also said those who willingly return the items will also not be prosecuted.[125]

The size of the reward and promise for immunity has baffled investigator as to why they haven't been returned.[125]

Two theories.[125]

First: artwork hidden, possibly buried, and those that hid it have since died.[126]

Among the Rossetti gang, only those who were in heist or boss Ralph R or his nephew Stephen R might know who did it.[127]

Also possibility artwork was destroyed while 45 agents investigated Boston immediately after theft. But FBI does not believe they were destroyed and gangsters have testified they rarely destroy items short of murder weapons.[127]

FBI believes the theft was arranged in the Merlino Dorchester auto body shop. Artwork given to Guarente, who gave it to Gentile.[128]

2002 Sale in Philadelphia doubted by Wittman.[129]

Another anonymous FBI agent doubted Merlino garage ring. Merlino and GUarente were dead, and Turner and Gentile had both served jail sentences after rejecting offers to tell authorities what they knew about the paintings.[130]

Two gangs edit

After Raymond Patriarca died in 1984, Gennaro Angiulo jailed, the Boston underworld became war ground for control.[131]

Groups previously under Patriarca ring fought for control. One group from Boston' North End, Vincent Ferrara, J.R. Russo, Angelo Mercurio.[132]

Bulger was also big in South Boston.[131]

Frank Salemme released, Whitey ally.[131]

Patriarca junior attempted induction ceremony from memebers of warring factions to try to settle it. Salemme's group and those controlled by Ferrara, Carrozza, and Russo.[132]

After it was discovered the induction ceremony was compromised by FBI informants. Patriarca Jr. lost control and it became war.[133]

Rossetti family loyal to Salemme.[133]

A 1994 indictment resulted in arrest of more than two dozen members of both gangs and put stop to the war.[134]

Both gang sides knew about Gardner Museum vulnerability.[134]

Rossetti gang knew because of Louis Royce.[134]

Ferrara gang because at least one memeber hung out with Connor who cased the museum in the 1980s.[135]

Missing Motive edit

In early 2014, Kurkjian wrote a letter to Ferrara to ask what he knew about the theft. In May 2014, Kurkjian received a call from a Ferrara associate that Bobby Donati robbed the museum to get Ferrara out of jail.[136]

About three months before the theft, Ferrara was jailed for murder charges and Donati was one of his first visitors.[137]

Donati told Ferrara that he was going to get him out of jail. Three months later, Ferrara heard news about the theft.[138]

Donati visited Ferrara again in jail. Ferrara asked if "it was him" to which Donati affirmed.[139]

Ferrara told Donati that he was crazy and to leave town. Donati said he buried the stuff and will start a negotiation once things cool down.[140]

Donati was murdered in 9/1991.[140]

Connor also thinks it was Donati. He was told same thing from DOnati's partner David Houghton.[141]

Connor recalled that Houghton visited him and jail and told him that he and Donati pulled off the heist and were going to use the paintings to get him out of jail.[142]

Donati had worked with Connor in past on art heists.[142]

Connor had used art to reduce sentences in the past, and Donati took note of this.[143]

Donati and Connor had scoped out the museum.[143]

Donati was seen at a social club in Revere shortly before the robbery with Bobby Guarente and a paper bag with police uniforms.[144]

Guarente and Donati were close friends.[144]

When Donati disappeared (murdered), Guarente was one of the first people that Donati family members called.[145]

Earle Berghman also corroborated that DOnati did the job, gave paintings to GUarente when he became concerned for his safety.[145]

Kurkjian shared this information with Amora and Kelly but has gotten little response.[146]

Ferrara could protect Donati in the war. Motive.[147]

Kurkjian recommended Ferrara meet with Gentile to possibly broker the return of some of the paintings. But Gentil's rules forbid him from meeting with anyone who was convicted of federal offense. Only feds could organize such a meeting. Kurkjian stopped there.[148]

In 2014, FBI sent informant who organized scheme to sell weed at XL center rock concerts. In one conversation, GEntile told informant that if weed deal went well, he might be willing to sell him two of the stolen masterpieces for 0.5 million dollars.[149]

When asked why sell for so much less than the museum reward. Gentile said he didn't trust the reward and thought they would arrest him on some type of charge anyways.[148]

GEntile in prison on weapons charges selling to the informant. Continues to maintain he does not know location of paintings.[150]

Misc investigation edit

In 2013, FBI made statement that they knew who committed robbery, trail it took, and details of an attempted sale in 2002 in Philadelphia.[151]


Investigation edit

By mid-afternoon on the day following the heist,the Federal Bureau of Investigation (FBI) took over the case rather than local police, as it was likely the artwork could cross state lines.[33][78] More than 40 agents were assigned to the case immediately,[78] but that number was reduced after three months down to one.[79]

Organized crime involvement edit

Significant evidence suggests that organized crime in the Boston area was responsible for the theft.

Suspects edit

Leads edit

In popular culture edit

Notes edit

  1. ^ In the criminal underwold, the person who hatches a plan for a score is typically due 15% of the profits.

References edit

  1. ^ Kurkjian 2015, p. 30-31.
  2. ^ Kurkjian 2015, p. 11.
  3. ^ a b c Kurkjian 2015, p. 21.
  4. ^ Kurkjian 2015, p. 24.
  5. ^ a b Kurkjian 2015, p. 25.
  6. ^ a b Kurkjian 2015, p. 22.
  7. ^ Kurkjian 2015, p. 23.
  8. ^ a b c d Kurkjian 2015, p. 19.
  9. ^ Kurkjian 2015, p. 27.
  10. ^ Gardner Museum 2018, p. 4.
  11. ^ a b c d e f g h Kurkjian 2015, p. 51.
  12. ^ a b c d e Kurkjian 2015, p. 53.
  13. ^ Boser 2009, p. 7.
  14. ^ a b Boser 2009, p. 8.
  15. ^ a b c Gardner Museum 2018, p. 20.
  16. ^ a b Gardner Museum 2018, p. 28.
  17. ^ a b c Gardner Museum 2018, p. 30.
  18. ^ a b c Kurkjian 2015, p. 48.
  19. ^ a b Kurkjian 2015, p. 49.
  20. ^ a b c d e f Kurkjian 2015, p. 50.
  21. ^ a b Gardner Museum 2018, p. 24.
  22. ^ a b c Gardner Museum, 2018 & p32.
  23. ^ a b Gardner Museum 2018, p. 22.
  24. ^ a b Gardner Museum 2018, p. 14.
  25. ^ a b Gardner Museum 2018, p. 18.
  26. ^ a b Gardner Museum 2018, p. 10.
  27. ^ Gardner Museum 2018, p. 26.
  28. ^ a b Kurkjian 2015, p. 46.
  29. ^ a b Kurkjian 2015, p. 54.
  30. ^ a b Kurkjian 2015, p. 55.
  31. ^ a b c d e Kurkjian 2015, p. 56.
  32. ^ a b c Kurkjian 2015, p. 57.
  33. ^ a b Kurkjian 2015, p. 61.
  34. ^ Kurkjian 2015, p. 47.
  35. ^ Kurkjian 2015, p. 28.
  36. ^ a b c d e f g h i j k l m McShane 2006, p. 263.
  37. ^ a b c d e f Kurkjian 2015, p. 66.
  38. ^ a b c d e McShane 2006, p. 262.
  39. ^ a b c Kurkjian 2015, p. 65.
  40. ^ a b c d Kurkjian 2015, p. 67.
  41. ^ a b Kurkjian 2015, p. 68.
  42. ^ a b Kurkjian 2015, p. 69.
  43. ^ a b Kurkjian 2015, p. 70.
  44. ^ a b Kurkjian 2015, p. 70-71.
  45. ^ a b c d e f g Kurkjian 2015, p. 74.
  46. ^ a b c d e f g Kurkjian 2015, p. 71.
  47. ^ a b c d Kurkjian 2015, p. 72.
  48. ^ a b Kurkjian 2015, p. 74-75.
  49. ^ a b c Kurkjian 2015, p. 75.
  50. ^ Kurkjian 2015, p. 73.
  51. ^ McShane 2006, p. 249.
  52. ^ McShane 2006, p. xi.
  53. ^ McShane 2006, p. 255.
  54. ^ a b c d e McShane 2006, p. 256.
  55. ^ a b c d McShane 2006, p. 257.
  56. ^ McShane 2006, p. 257-258.
  57. ^ McShane 2006, p. 258.
  58. ^ a b McShane 2006, p. 259.
  59. ^ a b c McShane 2006, p. 260.
  60. ^ McShane 2006, p. 261.
  61. ^ McShane 2006, p. 264.
  62. ^ a b c McShane 2006, p. 265.
  63. ^ a b McShane 2006, p. 266.
  64. ^ Wittman 2010, p. 249.
  65. ^ Wittman 2010, p. 253.
  66. ^ Wittman 2010, p. 253-254.
  67. ^ Wittman 2010, p. 254.
  68. ^ a b c Kurkjian 2015, p. 79.
  69. ^ a b c d e f g Kurkjian 2015, p. 81.
  70. ^ a b c d Kurkjian 2015, p. 80.
  71. ^ a b Kurkjian 2015, p. 79-80.
  72. ^ a b Kurkjian 2015, p. 81-82.
  73. ^ a b Kurkjian 2015, p. 82.
  74. ^ a b Kurkjian 2015, p. 82-83.
  75. ^ a b Kurkjian 2015, p. 82-84.
  76. ^ a b c Kurkjian 2015, p. 84.
  77. ^ Kurkjian 2015, p. 85-87.
  78. ^ a b c d Kurkjian 2015, p. 94.
  79. ^ a b Kurkjian 2015, p. 95.
  80. ^ Kurkjian 2015, p. 96.
  81. ^ a b c d Kurkjian 2015, p. 140.
  82. ^ a b c d e f g Kurkjian 2015, p. 146.
  83. ^ a b c d e Kurkjian 2015, p. 144.
  84. ^ a b Kurkjian 2015, p. 147.
  85. ^ a b c d e f Kurkjian 2015, p. 141.
  86. ^ a b c Kurkjian 2015, p. 148-149.
  87. ^ a b Kurkjian 2015, p. 119-120.
  88. ^ a b c d Kurkjian 2015, p. 120.
  89. ^ a b Kurkjian 2015, p. 121.
  90. ^ a b c d e Kurkjian 2015, p. 123.
  91. ^ a b Kurkjian 2015, p. 124.
  92. ^ a b c Kurkjian 2015, p. 125.
  93. ^ a b c Kurkjian 2015, p. 127.
  94. ^ a b c d e Kurkjian 2015, p. 128.
  95. ^ a b c Kurkjian 2015, p. 131.
  96. ^ a b Kurkjian 2015, p. 137-140.
  97. ^ a b c Kurkjian 2015, p. 135.
  98. ^ a b c d e f Kurkjian 2015, p. 143.
  99. ^ a b c d e f Kurkjian 2015, p. 142.
  100. ^ Kurkjian 2015, p. 101.
  101. ^ Kurkjian 2015, p. 145.
  102. ^ Kurkjian 2015, p. 149.
  103. ^ a b c d Kurkjian 2015, p. 150.
  104. ^ Kurkjian 2015, p. 151.
  105. ^ Kurkjian 2015, p. 152.
  106. ^ Kurkjian 2015, p. 152-153.
  107. ^ Kurkjian 2015, p. 153-154.
  108. ^ Kurkjian 2015, p. 154.
  109. ^ Kurkjian 2015, p. 154-155.
  110. ^ a b Kurkjian 2015, p. 155.
  111. ^ a b Kurkjian 2015, p. 156.
  112. ^ Kurkjian 2015, p. 157.
  113. ^ a b Kurkjian 2015, p. 158.
  114. ^ Kurkjian 2015, p. 158-159.
  115. ^ a b Kurkjian 2015, p. 160.
  116. ^ Kurkjian 2015, p. 161.
  117. ^ a b c Kurkjian 2015, p. 162.
  118. ^ a b c Kurkjian 2015, p. 163.
  119. ^ Kurkjian 2015, p. 164.
  120. ^ Kurkjian 2015, p. 170.
  121. ^ Kurkjian 2015, p. 171.
  122. ^ a b Kurkjian 2015, p. 172.
  123. ^ Kurkjian 2015, p. 174.
  124. ^ Kurkjian 2015, p. 177.
  125. ^ a b c Kurkjian 2015, p. 178.
  126. ^ Kurkjian 2015, p. 178-179.
  127. ^ a b Kurkjian 2015, p. 179.
  128. ^ Kurkjian 2015, p. 180.
  129. ^ Kurkjian 2015, p. 183.
  130. ^ Kurkjian 2015, p. 184.
  131. ^ a b c Kurkjian 2015, p. 189.
  132. ^ a b Kurkjian 2015, p. 188.
  133. ^ a b Kurkjian 2015, p. 190.
  134. ^ a b c Kurkjian 2015, p. 191.
  135. ^ Kurkjian 2015, p. 192.
  136. ^ Kurkjian 2015, p. 193-194.
  137. ^ Kurkjian 2015, p. 198.
  138. ^ Kurkjian 2015, p. 198-199.
  139. ^ Kurkjian 2015, p. 199-200.
  140. ^ a b Kurkjian 2015, p. 200.
  141. ^ Kurkjian 2015, p. 201.
  142. ^ a b Kurkjian 2015, p. 202.
  143. ^ a b Kurkjian 2015, p. 204.
  144. ^ a b Kurkjian 2015, p. 205.
  145. ^ a b Kurkjian 2015, p. 206.
  146. ^ Kurkjian 2015, p. 210.
  147. ^ Kurkjian 2015, p. 218.
  148. ^ a b Kurkjian 2015, p. 219-220.
  149. ^ Kurkjian 2015, p. 219.
  150. ^ Kurkjian 2015, p. 220.
  151. ^ Kurkjian 2015, p. 114-115.

Bibliography edit

  • Kurkjian, Stephen (2015). Master Thieves: The Boston Gangsters Who Pulled Off the World's Greatest Art Heist. New York: PublicAffairs. ISBN 978-1-61039-632-5.{{cite book}}: CS1 maint: ref duplicates default (link)
  • Boser, Ulrich (2009). The Gardner Heist: The True Story of the World's Largest Unsolved Art Theft. New York: HarperCollins. ISBN 978-0-06-145184-3.{{cite book}}: CS1 maint: ref duplicates default (link)
  • Isabella Stewart Gardner Museum (2018). Stolen. Carlisle, Massachusetts: Benna Books. ISBN 978-1-944038-52-6.
  • Goldfarb, Hilliard T. (1995). The Isabella Stewart Gardner Museum: A Companion Guide and History. New Haven, Connecticut: Yale University. ISBN 0-300-06341-5.{{cite book}}: CS1 maint: ref duplicates default (link)
  • McShane, Thomas; Matera, Dary (2006). Stolen Masterpiece Tracker. Fort Lee, New Jersey: Barricade Books. ISBN 1-56980-314-5.
  • Wittman, Robert K.; Shiffman, John (2010). Priceless: How I Went Undercover to Rescue the World's Stolen Treasures. New York: Broadway Books. ISBN 978-0-307-46148-3.
Retrieved from "https://en.wikipedia.org/w/index.php?title=User:TarkusAB/sandbox/Gardner2&oldid=921628179"