Modus Operandi by Mauro Corvasce (universal ebook reader txt) 📕

legitimate art market. To a degree, the thieves help the legitimate dealers, whether the latter know it or not, because the art market depends on a pool of homeless works of art fed at one end by the sale of objects, drained at the other by the forming of new collections. In the last fifty years that pool has been

increasingly agitated. The turnover of works of art through auction rooms and dealers has accelerated year by year. At the same time, the quantity of available works of art by dead artists is reduced: either through accidents or through acquisition of this or that Rembrandt by a museum.

It would sensationalize the problem to suggest that the art market, especially during the 1970s, was heavily dependent on recirculating stolen objects. The proportion is higher in the field of simple works of art such as silverware, furniture, drawings, rare prints, engravings, porcelain and antiquities, than in the area of signed paintings by acknowledged, famous artists. Not only are there more of the former around, but their histories are infinitely harder to check and the records of their existence, if there are any, are more difficult to obtain.

Archaeological Antiquities

Thousands of objects are smuggled yearly from countries rich in antiquities to countries rich in economy. This is a particular problem for archaeological artifacts. Many millions of dollars worth of art are steadily being stolen from archaeological sites. Once an object is removed from its original site, the archaeologist has lost a valuable clue to interpreting a culture. The enormous profitability of acquiring or smuggling antiquities has led to the depletion of cultural treasures in many countries.

Popular Culture

Thieves don't always need high art to make a killing. Let's take for example, the recent rise in the popularity of dinosaurs. Let's face it —dinosaurs are hot! No need to remind you of one of the biggest box office hits of late, Jurassic Park. Along with Jurassic Park, came millions of dollars in T-shirts, sweatshirts, memorabilia, movies, prints and novel sales. When you discuss art and jewelry thefts, you must include other historically significant and desirable commodities. And what do you think were some of the hottest items stolen during the dinosaur revolution of the last five years? Archaeological findings and prehistoric memorabilia; actual artifacts and dinosaur bones, fossilized dinosaur eggs, imprints of dinosaur footprints, anything to do with dinosaurs. It was a hot commodity, and the prices skyrocketed.

Organized Crime

Organized criminal elements are turning their attention to the art world. Organized crime has always been quick to exploit the trends originally set by legitimate businesses such as alcohol vendors. In this case, the master criminal becomes aware of the enormous profit potential of art and begins to educate and prepare himself for this particular field. Additionally, just as financial consultants have established mutual funds and invested solely in works of art, so the criminal is now beginning to appreciate the investment value of art. In fact, even when recoveries are made, the frequent absence of one or two of the best pieces suggests stockpiling by the criminal element.

Crime bosses and small-time crooks began to buy museum catalogs and art magazines and look very hard at the old and new masters. Compared to burglary or bank robbery, art thefts are easy and pay well for little risk. Many museums, prior to the 1960s, had never heard of security alarms, let alone used them. Insurance companies and owners who wanted the unique treasures returned safely would not argue about rewards or ransoms.

So the crime bosses began to convert their henchmen into art thieves. When they found the extortion racket worked, they invented others: dealing stolen religious objects, altering them and filtering them into an antique market; new techniques in art smuggling; and selling novel art forms such as Hong Kong Ming. An equally inspiring tale of boldness was when a criminal sold Salvatore Dali one of his own stolen paintings. Remember that criminals play on human frailty and sorrow, and the fact that every man believes himself to be something of a discoverer and cannot resist the lure of easy money. The attempt by a person to make quick and easy money is one of the greatest human instincts.

Forgeries

A unique example of cultural and artistic work exists in parts of Africa. Much African art is carved in traditional styles, artificially aged, and then sold under false pretenses. These forgeries are so well executed, only the most competent experts are able to detect them. East African carvers visit museums to study the aging process and style of art objects. In Nigeria, West Africa, carvers generally have better access to museums than in the East, and are able to familiarize themselves with the art market.

Art Theft to Order

Remember that the art and antique thief does not have to be the person who physically removes the item from the home, business or museum. The actual thief, in terms of the police investigation, would not only be the person who physically removed the item, but the person who set the wheels in motion.

For example: We have Mr. Jones, a collector of fine art and antiques. He's collected nearly all the signed original works of Salvatore Dali created during a certain time period when Dali, let's say, was at a certain level of impressionism in his painting. Mr. Jones does not have one painting and desires that one very much.

We must remember that artists have periods in their lives, much like musicians, when their art takes on a certain style somewhat different from years before and the years that follow. So this collector, Mr. Jones, simply must have the one missing painting. He hires a private detective firm to find the rightful owner of the painting. But, the rightful owner is determined not to sell. If he still wants the painting, Mr. Jones must decide to do one of two things:

Scenario 1: He may decide to have another person (a broker) approach the owner on his behalf for the sale of the painting. Of course,