Steve Meacham - The Sydney Morning Herald June 15, 2007
IS THE mastermind behind the theft of a 17th century Dutch painting from the Art Gallery of NSW anything like Pierce Brosnan in The Thomas Crown Affair - a rich playboy who amuses himself by stealing art?
Or was this the work of a professional gang targeting works that will end up in a millionaire's private collection?
Neither, art industry insiders say. Most art thieves fall into four categories: political activists who steal to make a point; ransom specialists who say they will destroy a work unless they are paid; small-time crooks who do not realise how hard it is to sell an easily identifiable painting; and - statistically the most likely - the mentally disturbed.
"There are no rich art thieves," says Michael Reid, an art analyst and former criminal lawyer. "There are rich art forgers, but not art thieves. The reality is that there are lots of ways of making money legally and illegally in the art world. And stealing a well-known painting would have to be the hardest way. Particularly a painting, like this one [Frans van Mieris's A Cavalier (Self-Portrait)], from a well-known institution."
Mr Reid said there was no evidence of an organised black market in art in Australia.
"There's no way you can sell [the painting] in Australia, or any of the major art centres in the Western world. So what, on paper, may be worth $1.3 million, becomes something you can't get any cash for."
The idea of debonair, highly intelligent, well-connected art thieves "may make great cinema", Mr Reid said, "but there's no evidence they exist in real life". Without wishing to denigrate van Mieris's work, Mr Reid said "this isn't the painting you'd steal if you were going to choose one from the Art Gallery of NSW".
Interpol will issue details alerting the world's reputable art dealers to the missing van Mieris if it is requested to do so by NSW Police.
Denis Savill, of Savill Galleries, Paddington, said the best development in the fight against art theft was "that we live in the age of Google". Whereas victims once had to leave detection in the hands of the police, now images of missing or stolen paintings can be flashed around the world in seconds.
Mr Savill was a victim of one of Sydney's greatest art thefts. In 1990 eight paintings, including works by Sir William Dobell and Arthur Boyd, worth a collective $500,000, were stolen from his gallery. They were recovered two years later. Mr Savill insists art theft is not on the rise in Australia, but things still go missing.
When Fairfax Media sold its corporate collection recently, Mr Savill realised four paintings were unaccounted for, including a Grace Cossington Smith, worth $500,000. Fortunately his assistant had seen it at the Art Gallery of NSW. "Fairfax had loaned the painting eight years before," Mr Savill said. "No one knew because the paperwork was so inept."
Anyone with information should contact The Rocks police or Crimestoppers on 1800 333 000.
What is sad about this story is that many museums do not keep adequate records. Very few museums conduct regular wall-to-wall inventories. Only relatively recently have state Attorneys General clamped down on museum boards, insisting that they be held accountable for having policies in place to protect against theft. As shocking as it sounds, in the past some museums did not even report the theft for fear that it would encourage other thieves or would bring scrutiny on the museum itself. Museums need to have collections management policies that are clearly written and are followed by the staff. Part of the policy must include the timely reporting of theft to the local police, Interpol, the Art Loss Register and other venues who can then alert the art world to be on the lookout for a missing piece. Provenance is important when dealing with a gallery, but sadly such information is lacking at my antique shows. Thanks for this post Jill!
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