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The Gardner Heist: The True Story of the World's Largest Unsolved Art Theft Paperback – Illustrated, March 16, 2010
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“Boser cracks the cold case of the art world’s greatest unsolved mystery.”— Vanity Fair
One museum, two thieves, and the Boston underworld: the riveting story of the 1990 Gardner Museum robbery, the largest unsolved art theft in history. Perfect for fans of the Netflix series This is a Robbery: The World's Biggest Art Heist!
Shortly after midnight on March 18, 1990, two men broke into the Isabella Stewart Gardner Museum in Boston and committed the largest art heist in history. They stole a dozen masterpieces, including one Vermeer, three Rembrandts, and five Degas. But after thousands of leads, hundreds of interviews, and a $5 million reward, not a single painting has been recovered. Worth as much as $500 million, the missing masterpieces have become the Holy Grail of the art world and their theft one of the nation’s most extraordinary unsolved mysteries.
Art detective Harold Smith worked the theft for years, and after his death, reporter Ulrich Boser decided to pick up where he left off. Traveling deep into the art underworld, Boser explores Smith’s unfinished leads and comes across a remarkable cast of characters, including a brilliant rock ‘n’ roll art thief and a golden-boy gangster who professes his innocence in rhyming verse. A tale of art and greed, of obsession and loss, The Gardner Heist is as compelling as the stolen masterpieces themselves.
- Print length260 pages
- LanguageEnglish
- PublisherHarper Paperbacks
- Publication dateMarch 16, 2010
- Dimensions5.31 x 0.61 x 8 inches
- ISBN-100061451843
- ISBN-13978-0061451843
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Editorial Reviews
Review
“Boser has produced a captivating portrait of the world’s biggest unsolved art theft.” — Wall Street Journal
“A vivid portrait of the high-stakes world of art crime.” — Lisa Ko, author of The Leavers
“Ulrich Boser presents his solution to the [Gardner] mystery.” — Washington Post
“Boser’s book on it has the feel of a speedy ride down a mountain road spiked with hairpin turns." — Christian Science Monitor
“Boser has done a public service in exposing the real world of art theft: It isn’t about glamour and culture - it’s about greed, violence and irreparable, maddening loss.” — USA Today
“Boser cracks the cold case of the art world’s greatest unsolved mystery.” — Vanity Fair
“Boser offers a tantalizing whodunit as he embarks on an exhaustive search for the stolen masterpieces.” — Boston Globe
“This riveting, wonderfully vivid account takes you into the underworld of obsessed art detectives, con men, and thieves, tantalizing leads and dead ends.” — Jonathan Harr, author of The Lost Painting
“A fascinating, well-researched investigation…[a] police-eye-view of an unsolved crime-the solution for which may be just around the corner.” — Noah Charney, director of the Association for Research into Crimes Against Art, and author of The Art Thief
“Boser’s carefully researched and brilliantly written of the 20th century’s greatest art heist is too stunningly fascinating to miss.” — Phyllis Karas, author of Brutal: The Untold Story of My Life Inside Whitey Bulger's Irish Mob
“The book is a thrill.” — The Guardian
“Now we read this. It looks like the largest theft since the Devil Rays took what should have been the Red Sox’s 2008 American League championship. I don’t know if those paintings ended up on eBay, but I do know they’re not on my walls.” — Senator John Kerry
“Boser’s rousing account of his years spent collecting clues large and small is entertaining enough to make readers almost forget that, after 18 years, the paintings have still not been found.” — Publishers Weekly
“Boser poetically contrasts the burning, almost unnatural desire art lovers feel for paintings with the cold reality that art theft is one of the easiest and most lucrative types of crime.” — Kirkus Reviews
“Artfully done... Grade: A Minus.” — Boston Herald
From the Back Cover
Shortly after midnight on March 18, 1990, two men broke into the Isabella Stewart Gardner Museum in Boston and committed the largest art heist in history. They stole a dozen masterpieces, including one Vermeer, three Rembrandts, and five Degas. But after thousands of leads—and a $5 million reward—none of the paintings have been recovered. Worth as much as $500 million, the missing masterpieces have become one of the nation's most extraordinary unsolved mysteries.
After the death of famed art detective Harold Smith, reporter Ulrich Boser decided to take up the case. Exploring Smith's unfinished leads, Boser travels deep into the art underworld and comes across a remarkable cast of characters, including a brilliant rock 'n' roll thief, a gangster who professes his innocence in rhyming verse, and the enigmatic late Boston heiress Isabella Stewart Gardner herself. Boser becomes increasingly obsessed with the case and eventually uncovers startling new evidence about the identities of the thieves. A tale of art and greed, of obsession and loss, The Gardner Heist is as compelling as the stolen masterpieces themselves.
About the Author
Ulrich Boser has written for the New York Times, the Washington Post, Smithsonian magazine, Slate, and many other publications. He has served as a contributing editor at U.S. News and World Report and is the founding editor of The Open Case, a crime magazine and web community. He lives in Washington, D.C.
Product details
- Publisher : Harper Paperbacks; Illustrated edition (March 16, 2010)
- Language : English
- Paperback : 260 pages
- ISBN-10 : 0061451843
- ISBN-13 : 978-0061451843
- Item Weight : 7.5 ounces
- Dimensions : 5.31 x 0.61 x 8 inches
- Best Sellers Rank: #395,456 in Books (See Top 100 in Books)
- #221 in Individual Architects & Firms
- #1,102 in Crime & Criminal Biographies
- #1,777 in Art History (Books)
- Customer Reviews:
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About the author

I'm a best-selling author and a senior fellow with the Center for American Progress. I just finished up a book that looks at the new science of learning. Titled "Learn Better," the book takes a broad look at how people can gain skills more effectively.
The book is deeply researched, and as part of my reporting, I took basketball lessons from a former Harlem Globetrotter, spent time with the nation's foremost ER room doctor, and profiled the man who used some of the recent learning research to dominate the game show Jeopardy.
I'm fortunate to have received some excellent early reviews. Publisher's Weekly called the book "engaging" and "thought-provoking," while author Walter Isaacson said the book was "alternately humorous, surprising, and profound.”
Before the Center, I was a contributing editor for U.S. News & World Report. My work has appeared in The New York Times, The Wall Street Journal, and The Washington Post. In February 2009, HarperCollins published my book The Gardner Heist, which examines the 1990 theft of a dozen masterpieces from Boston’s Isabella Stewart Gardner Museum.
I can be reached at ulrich @ ulrichboser.com.
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In addition to interesting interviews with shady characters who may or may not know more of the stolen art's whereabouts than the "good guys", Boser laces in interesting back stories and art theft history to help the reader understand this world.
Several times I thought to myself, I'm surprised this man did not get himself killed. Congrats to Ulrich on a courageous investigation and excellent book.
I'm lucky enough to live in the Boston area and I will be going back to the Gardner very soon...I'll stare at the empty frames with a more thorough understanding of what happened that night. And more than ever, I'll remember that although it's the empty frames that hit me like a ton of bricks every time, I need to cherish the paintings that remain as much as the ones I've never been able to see.
It was surprising to me that so many underworld figures seem to be involved in this particular crime, and I have no reason to believe it is any different for other art crimes.
It's surprising and sad that 20 years on, there is still no real clue as to where these paintings are. I hope this book pushes museums to get out of the mindset that art heists cannot happen to them, and to make security a top priority. Although none of us want to enter a fortress when we go to a museum, that may be the only way to ensure that masterpieces will still be there for future generations.
Thirteen pieces were taken - The Concert, one of only 34 pieces by Vermeer; The Storm on the Sea of Galilee, Rembrandt's only seascape; paintings and sketches by Rembrandt, Degas, Manet and Flinck as well as a Napoleonic flag finial and a Chinese gu vessel/vase.
A fascinating tale of the author's personal obsession in investigating and tracking down the thousands of leads that have relayed to police and private investigators. Boser even spent some time talking and working with Harold Smith, a renowned investigator and detective specializing in fine-art and jewelry theft and who represented many insurance companies over his lifetime. In time, the author - who sponsored a website as well as a toll free phone number - was plunged into the murky depths of the underworld where distinctive stolen artwork becomes a 'black-market' bond between gangsters and terrorist organizations or ransomed to insurance adjusters for millions.
The author does give numerous examples of multiple robberies - mostly from art museums or private homes over the years. For far too long, museums seemed to lag behind most other organizations where security was concerned especially since the cost of trained and bonded security guards was an expense that consumed a large portion of the annual budget. Even now, with secured, hidden security control rooms, bonded guards, cameras inside and outside premises, thefts are still happening.
And artwork is still being recovered - sometimes decades after originally stolen.
The reader is torn between this thrilling look into art theft investigation and the frustration for the many dead ends that the author hits as he travels between America and Europe (several leads put the artwork in the hands of the Sinn Fein). Ambiguity and rumors abound. Lawyers for criminal clients feel out law enforcement for possible deals. Suspects have died over the decades and maybe the true locations of the artwork died with them.
As of 2017, none of the pieces have been recovered. Although the statue of limitations for the theft ran out in 1995, it was extended in 1994 to twenty years. The Crime Act of 1994 also made it so that anyone in possession of a stolen work - even decades after the original robbery - could be prosecuted for receiving/handling of stolen property.
If you visit the Gardner Museum today, empty frames hang on the wall reminding visitors of the losses and the hope that one day, they will return to their home.
**This review is identical to the one posted on GoodReads.com**
In 1990, on the night of St. Patrick's two men dressed as police men gained access to the museum, tied up the guards, and took 13 paintings plus assorted artifacts from their displays. And that's about it.
Almost everything beyond that is speculation. Even what seem like basic questions like how did they gain access? Did the paintings ever leave the museum? Turn out to be hard to establish with 100% certainty. Did they trick their way in, or did they have an inside man? Did they bundle the stolen art out, or hide it in the museum grounds (granted, the later is very unlikely, but since nobody saw the paintings leave the grounds, it's a legitimate question).
This, of course, makes it a story ripe for an investigative book, and Boser has a ball with it. There are so many avenues to explore, and so many colorful characters who could have been involved that at times it seems like a Who's who of the Boston underworld: David Turner, Whitey Bulger, and the IRA all get given serious consideration as possibly being complicit in the crime or the stashing of the paintings.
I felt that despite the lack of any concrete evidence, Boser does a pretty good job and evaluating all the major suspects, and zeroing in on the most likely. His case against David Turner seemed pretty compelling to me: the robbery matches the MO he used for several other high profile robberies, and an eye witness who saw the robbers outside the museum fairly confidently ID's Turner as one of the men to Boser.
Apart from the whodunit aspect of the book, I really enjoyed the historical background on Boston, the museum, and especially on Isabella Gardner herself.
The author's goal was to solve the mystery of the brazen art theft of masterpieces from the Isabella Stewart Gardner gallery in 1990. He was certain he could bring them home by applying his journalistic wiles where the Boston police, the FBI, professional investigators, informants and Scotland Yard had failed. His white rabbit in the affair is Harold Smith, a highly successful investigator who had worked the case exhaustively but was ill when Boser met him. Smith does share his files and introduces the author to some key characters before dying, which is promising. The revelations about museums, security, mobsters, especially Boston mobsters, the subterranean theft culture, and the law enforcement community's attitude toward art are surprising. It is a tangled world of deceit and silence, and in the case of the Gardner case made all the more opaque by the passage of time, deaths and disappearances of key players and, in one case, dementia.
It is in the depiction of a beautiful world many of us think we know and take for granted--art museums--and its proximity to a shadowy, morally ambiguous and violent underground that gives this book some power. He does an excellent job of describing the missing art work and there are nice color plates of the same. The fact that the author does not crack the case and bring home the art work is not what weakens it. It is his lack of self-awareness and irony that bothers me. His writing can be ego-centric--more than once he says that someone "toured me" through a museum. Even when he finally realizes it is time to let it go, there's no real sense that he's grown from this caper or that the world understands the lessons of the Gardner heist any better.
so, perhaps I found it more interesting than many people might. I particularly liked his recounting of some well-known art forgers and their work. It reinforced my long held conviction that I had NOT seen the authentic "Mona Lisa" but an excellent forgery. (No, I am not going to write a book - but if any body else feels the same, chime in). I saw her
in January , 1976 - at the Louvre, of course. I felt the same way about a painting ascribed to Rembrandt - which was
later proved not to by his hand.
The paintings have never been recovered. The mystery of who took the artwork has not been solved. A $10 million reward is still up for grabs.
We dance round in a ring and suppose,
But the Secret sits in the middle and knows.
Ulrich Boser is an unusual man. A dedicated researcher, he writes well, and uncommonly is cursed with the patience of an unworshoped deity. While the research is exhaustive, the reading is exhausting.
There is much of interest here to those that seek sporadic knowledge of art works and artists, detailed information about each dead end, and a recitation of the database of suspects in what Boser calls the greatest theft of all time. It begins nicely enough with the few facts that are known and progresses to the thought and style of the great art detective, Harold Smith. (At this point there is still hope.) But for 223 pagest the flint never fires more than a spark, and between flint and paper, the spark fizzles.
How can a man, demonstrably capable in the many facets of criminal investigation and authorship write such a loopy 'novel'. I don't mean silly or insane. This novel consists of numerous circles, starting points which return to the same place, more informed perhaps, but none the wiser. Ths plot surges in one direction,only to return to the starting place; then it charges abroad, returning, alas, to the same starting poing. How can this be?
My hypothesis is that Mr. Boser was so obsessed with this case that he spent large sums of money, traveled extensively here and abroad, and for years sequestered himself from wife and family pursuing his obsession with the Gardner art theft. Imagine having devoted all this time, money and effort into an obsession. You have files full of data, you know the options each suspect had available, the quirks, habits, styles and idiosyncrasies of each player. You know each so well that you can hold conversations in your mind, but what can you do with all this? Well, Ulrich Boser wrote a book. Sadly, this book.
He would have been much better served by writing a group of short stories, each depicting a different possible but imagined theft of the Gardner art. Alternatively, he could have written a series of novels, each based on this information. The point being that there would have been some sort of closure in each alternative. The way the book is now, it is incomplete, missing several chapters. I promise to buy his first novel plotted about this robbery.
In this book, the author examines the potential local elements often attributed to the crime, and navigates the murky waters of speculation as to "who done it". Suburban criminals, local mafia chieftains, and legendary figures in the New England burglary world are all weighed and measured.
For anyone with any love of art, interest in true crime, or student of Bostonian culture as a hot bed for "crime as a career", this book is insightful, entertaining, and thought provoking. By the end, the reader will think they solved the crime, and within an hour after that they will realize they feel like every FBI agent who ever worked the case......frustrated because they are confident without conviction.
A near brilliant book.
Len
Barnegat, NJ











