Vermeer's The Concert

Vermeer's The Concert

Saturday, August 20, 2011

Stolen Art Watch, Gardner Art Heist, William Youngworth Muses, Charles Sabba Listens

William P. Youngworth III and the artist Charles Vincent Sabba Jr. in front of the large Gardner Gossips canvas in its early, underpainting stage 2009.

Charles Vincent Sabba Talks Gardner Art With William Youngworth

“ A mega budget movie coming soon about the world’s largest unsolved art robbery? “. has learned that prominent New England Antiques Dealer William P. Youngworth, III, has been approached by consortium representing a Hollywood Production Company with an intense interest in Boston based crime dramas.

In 2010, with an Academy Award winning mega Boston colored success under their belts, their focus has now turned to the Holy Grail of all Boston crime mysteries-The 1990 robbery of Boston’s Gardner Museum!, like many others close to the case, has long considered Youngworth the key to solving the mystery of the World’s largest unsolved art robbery that has dogged investigators for over two decades.

Youngworth, angered over what he calls “extortive strong arm methodology”, to force his cooperation in the multi million dollar 21 year old investigation into the robbery that’s stymied law enforcement, has walked away from the negotiating table for good.

When asked for comment Youngworth said “Every few years someone has an idea for a book or a movie. I guess that after Bulger came up a dry hole its back to me again.”

These days Youngworth, 52, is semi retired “living off a few small investments” dedicates his time to helping his son who has his own Antique Furniture and Collectibles business. “Its been a tough year on my boy”. In his son’s first year of business he lost one building to a fire and a second to a freak tornado suffering in access of a million dollars in losses. Despite two disasters Youngworth’s son William, IV has built such a successful business following his (late) mother’s & father’s business model that it continues to grow and prosper.

Youngworth promises that if he did undertake any movie or book projects he would insist on some level of control that probably conflict with artistic license. “There is nothing formal at this stage but all parties are listening”.

Youngworth promises that if he decides to undertake any projects that new details of one of the world’s greatest mysteries would be forthcoming. asked Youngworth if we all could be in on solving the Gardner case for the price of a movie ticket? Youngworth stated that “I wouldn’t go that far, the Gardner and the Feds will buy it on bootlegged DVD’s off street corners”.

On a serious note Youngworth noted that the head of the Gardner Museum’s Security Anthony Amore teaming up with Boston tabloid reporter Tom Mashburg are now on the road promoting their book on Rembrandt thefts. “It just proves one more time that profiting off the theft as opposed to meaningfully trying to resolve it is the Gardner’s main objective”. More to come soon! -

William Youngworth has an open voice at and we will never censor him when he agrees to be interviewed. I would like to include a disclaimer however that his views and opinions do not express the viewpoints and opinions of and . This should be especially noted as concerns our respect for Anthony Amore and our love and dedication to both the Isabella Stewart Gardner Museum and Isabella's memory. We have stated many times that we think this little museum is one of the most precious in the United States and we are dedicated to assisting in the recovery of their treasures in any manner. -Sabba-

Tuesday, August 16, 2011

Stolen Art Watch, Mark Rossetti, Mafia & Boston FBI, Joined At The Lip

Sleeping with enemy, again

Consider this: The FBI gets into bed with a suspected killer, on the dubious premise that he can give it information on other criminals, even though he is, by deed and reputation, far worse than any of the people he’s supposedly informing on.

Sound familiar? It should. It’s Whitey Bulger all over again. Except this time Mark Rossetti is Whitey Bulger. And this isn’t ancient history. It was going on until just last year, and is only now coming out.

Rossetti is a reputed caporegime in the Boston faction of the Mafia. He is a convicted armed robber and is awaiting trial on charges that he ran a loan sharking and heroin ring. He is considered a suspect in at least six unsolved homicides, according to multiple law enforcement officials.

Despite his record and reputation, Rossetti was recruited as an informant by the FBI. The FBI won’t say when. Spokesman Greg Comcowich declined to say whether the FBI was aware that Rossetti was a suspected killer when it recruited him.

A couple of years ago, the Massachusetts State Police targeted Rossetti. But even before the State Police began that investigation, they asked the FBI if Rossetti was an informant. The FBI categorically denied it, according to state law enforcement officials familiar with the exchange.

The State Police went ahead and got the legal authorization for electronic surveillance of Rossetti’s phones, and soon they were listening in as Rossetti talked to his FBI handler, a young agent named Jesse.

Now, this isn’t about Jesse. He is by all accounts an earnest, honest agent who merely inherited Rossetti as an informant. This is about people in pay grades above Jesse’s. Supervisors who are supposed to know better. People who are supposed to know that the FBI shouldn’t be playing footsie with people like Mark Rossetti.

I know State Police officers, the workers - not the ones who make policy or are required to play nice with the FBI - who were furious after reading the joint statement of their commander, Colonel Marian McGovern, and FBI Special Agent in Charge Richard DesLauriers, which asserted that the FBI assisted the State Police in nailing Rossetti last year.

That statement, issued Friday after the Globe reported that Rossetti was an informant, is a case study in parsing words and deflecting attention. It said that when the State Police told the FBI they had Rossetti on a wire “the FBI was prepared to cease its association’’ with Rossetti.

“However,’’ the statement continued, “the Massachusetts State Police specifically requested the FBI continue its association with the individual for logical strategic reasons.’’

In other words, maintain the status quo so Rossetti wouldn’t become suspicious if his FBI handler suddenly closed him out or acted differently. But that statement ignores the reality that the FBI initially denied Rossetti was working for it. And while accurate as far as it goes, the statement is mendacious and misleading by implying that the issue at hand is when Rossetti should have been terminated as an informant, while the real, screaming issue here is that Rossetti should never have been an FBI informant.

This goes to the very heart of what the FBI was supposed to have learned over its craven and criminal coddling of Whitey Bulger. This wasn’t supposed to happen again. The FBI should have been trying to put Rossetti in prison, not paying him and giving him a cellphone.

The extent of the FBI’s corruption in its handling of Whitey Bulger was exposed only after a courageous federal judge named Mark Wolf convened a series of extraordinary hearings, forcing the FBI to publicly explain itself. The FBI’s courtship of Mark Rossetti suggests it didn’t learn the lessons it claimed to have after Whitey Bulger. It got into bed with a guy it should have been trying to put into a prison bunk.

This is history repeating itself. Time for more hearings.

Friday, August 12, 2011

Stolen Art Watch, Rossetti The Rat, Rhetoric Won't Recover Gardner Art

Breaking News Gardner Art Heist Latest:

Reputed mob boss is called FBI informant

Court papers say state was wiretapping Rossetti

Mark Rossetti, a reputed Mafia leader who was indicted last year on state charges of running a sprawling criminal enterprise of drug trafficking, gambling, and loan sharking, had been working all along as an informant for the FBI, according to documents filed yesterday in Suffolk Superior Court.
The documents, filed by two lower-level players in Rossetti’s alleged crime ring as part of a legal strategy in their own case, do not identify Rossetti by name. But he can be clearly identified through descriptions of his conversations with his FBI handler, and through a State Police organizational chart of his alleged crime ring, the Rossetti Criminal Organization. Rossetti is a reputed capo in the New England Mafia.
State Police recorded more than 40 conversations between Rossetti and his FBI handler in the spring of 2010, through a wiretap on Rossetti’s FBI-issued phone, according to the court documents. In the conversations, they discussed other Mafia figures and the possible role of Rossetti’s cousin in the 1990 art heist at the Isabella Stewart Gardner Museum, as well as Rossetti’s debt collections. According to the documents, it was during these conversations that State Police discovered Rossetti was an FBI informant.
Rossetti later grew concerned that he was being investigated by the State Police. He revealed to his handler on May 14, 2010, that his phone had been tapped, according to court records.
The disclosure that Rossetti, a high-ranking Mafioso, was working with the FBI at the same time he was being targeted by the State Police raises questions about how closely the FBI was monitoring him and whether the bureau was aware of the extent of his alleged activities.
The complete nature of Rossetti’s relationship with the FBI was not immediately clear yesterday.
When working with informants, the bureau is required to follow clear guidelines that restrict what the informant may do.
Gregory Comcowich, a spokesman for the FBI’s Boston office, said last night that he was aware of the court filings but would not comment on details of Rossetti’s relationship with the bureau.
“The Department of Justice rules require us to report criminal wrongdoing by any of our sources,’’ he said. “The FBI followed those guidelines.’’
According to court documents, Rossetti expected to be spared from prosecution for the crimes he committed with the FBI’s knowledge, but he worried for his safety if it appeared he was getting special treatment from authorities.
“In a compelling exchange, [Rossetti] states . . . he knows he will be protected for the crimes he has been committing with the knowledge of his handler but that he is concerned about the appearance of his not being sent to prison if everyone else in the upcoming case is incarcerated and whether he will be forced to testify before a grand jury,’’ one court filing states.

“His handler promises that [Rossetti’s] safety is his biggest concern and that he will deal with the fallout from the upcoming state wiretap [this wiretap] as it progresses.’’
The conversations continue, with Rossetti calling his handler asking for permission to meet with loan collectors, to back off other collections, and to aid people who needed him to intercede with other criminals on their behalf.
His handler tells him on several occasions that he must file the proper paperwork before he “makes his next move.’’
Stricter FBI guidelines were adopted a decade ago after the bureau’s scandalous relationship with longtime informants and gangsters James “Whitey’’ Bulger and Stephen “The Rifleman’’ Flemmi was exposed, requiring more oversight of the agent-informant relationship.
Rossetti’s lawyer on the state charges, Randi Potash, argued that there is no public proof that her client worked as an informant.
“I urge you not to print something very dangerous, not based on facts, and that’s my comment,’’ she said. “It’s not based on public information, it’s not based on facts. It’s hurtful, and I urge you not to print it.’’
The FBI’s mishandling of longtime informants Bulger and Flemmi was exposed in federal court hearings in Boston in 1998, triggering a national scandal resulting in congressional hearings, the revision of the informant guidelines, and an avalanche of lawsuits brought by victims’ families.
Flemmi is serving a life sentence for 10 murders and Bulger is awaiting trial on charges that he killed 19 people, most while he was an FBI informant.
Bulger was arrested June 22 in Santa Monica, Calif., after 16 years in hiding.
State prosecutors described Rossetti as a violent gangster when they indicted him in October 2010 on charges he ran a criminal enterprise with the involvement of at least 30 other people.
The investigation, conducted by troopers assigned to the State Police Special Services Section, involved the execution of 30 search warrants and the seizure of $1.3 million in cash from extortion cases, $120,000 in alleged drug money, more than a kilo of heroin, a heroin press, 200 pounds of marijuana, a pipe bomb, two bulletproof vests, a rifle, a loaded handgun, and five motor vehicles.
One of the men charged was Darin Bufalino of Winthrop, Rossetti’s alleged “soldier.’’ He pleaded not guilty to attempted extortion, conspiracy to commit attempted extortion, and being a habitual offender.
The Suffolk Superior Court records were filed by Boston attorney Robert A. George on behalf of his clients Joseph Giallanella and Michael Petrillo, two alleged players in Rossetti’s crime ring.
They are seeking to have charges dismissed based on Rossetti’s relationship with the FBI.
According to the documents, they argued that any evidence obtained in relation to Rossetti should be dismissed because his relationship to investigators was not disclosed to judges who approved wiretaps and search warrants.
Milton J. Valencia can be reached at; Shelley Murphy can be reached at

FBI had OK from police on Rossetti

Agency wanted to maintain wiretap

The Massachusetts State Police warned the FBI last year that it had learned while tapping the phone of reputed Mafia capo Mark Rossetti that he was an FBI informant, but urged the bureau not to drop him, for fear it would make him suspicious and derail its investigation, according to a joint statement issued by the two agencies yesterday.

The FBI was prepared to end its association with Rossetti after learning he was being targeted by the State Police in alleged criminal activity, according to the statement, “however, the Massachusetts State Police specifically requested the FBI continue its association with the individual for logical strategic reasons in furtherance of the State Police investigation.’’
The two agencies cooperated with each other, with coordination from the US attorney’s office, until the investigation culminated last October in a sweeping state indictment charging Rossetti with overseeing a sprawling enterprise involved in heroin and marijuana trafficking, home invasions, gambling, and loan sharking.
The FBI said it ended its association with Rossetti, 52, of East Boston, after his arrest.
Documents filed Thursday in Suffolk Superior Court by two men accused of being low-level players in Rossetti’s alleged crime ring revealed that State Police recorded 44 conversations between Rossetti, talking on an FBI-issued phone, and his handler from February to May 2010. The documents do not identify Rossetti by name, but provide descriptions of the informant’s role in the organization that clearly identify him.
The disclosure that Rossetti was working with the FBI at the same time he was being targeted by the State Police, reported by the Globe yesterday, raises questions about how closely the FBI was monitoring him and whether the bureau was aware of the extent of his alleged activities.
When working with informants, agents must follow clear guidelines, which include a requirement that the FBI report any alleged criminal wrongdoing by an informant to federal prosecutors.
Colonel Marian McGovern, head of the State Police, and Richard DesLauriers, the special agent in charge of the FBI’s Boston field office, issued a statement yesterday in response to the Globe report.
“Specifically, the FBI employees responsible for handling this matter did not engage in any inappropriate activity and acted in accordance with Department of Justice and FBI rules,’’ they said. “They demonstrated a high level of integrity and professionalism.’’
The two agencies did not refer to Rossetti by name in the statement. The FBI would not comment on how long he had been an informant.
David Procopio, a spokesman for the State Police, said the agency contacted the FBI as soon as Rossetti was overheard talking to his handler and urged the bureau to keep the information from the handler and allow the association to continue.
“If the handler was notified and there was a change in the normal pattern of behavior between the two of them, the target would suspect something was up, and it would compromise the value of the wire we had up,’’ Procopio said.
Stricter informant guidelines were adopted a decade ago after the bureau’s corrupt relationship with longtime informants and gangsters James “Whitey’’ Bulger and Stephen “The Rifleman’’ Flemmi was exposed.
Yesterday, retired State Police Colonel Thomas Foley, who spearheaded the investigation that led to murder charges against Bulger and Flemmi, criticized the FBI’s decision to recruit Rossetti as an informant, citing his high-ranking status in the New England Mafia.
“After everything that we have been through with the Bulger case, nothing has been learned, and nothing has been changed,’’ Foley said.
Rossetti “has been a player for a long time,’’ Foley said. “He has been involved in some very serious crimes. . . . How do you balance what he has been out there doing with what kind of information he’s been providing?’’
Foley said it is critical to use informants who are providing information about criminals who are at higher level than themselves.
“You don’t deal down; you deal up,’’ Foley said.
Former US attorney Michael J. Sullivan said the informant guidelines allow agents to use high-ranking members of organized crime as informants, but there are added layers of oversight for handling them.
“You need to make an assessment of what value does the informant bring,’’ Sullivan said. “Can they provide information that gets at the heart of a criminal organization, helps solve unsolved crimes, or provides evidence that takes some dangerous targets off the street? It very much has to be case-specific, but you can’t rule out the value of signing up a high-ranking echelon informant.’’
Sullivan said informants are critically important to all law enforcement agencies.
“I think most people look at them as a necessary evil within their various agencies,’’ he said.
Rossetti was sentenced to 10 years in federal prison in 1983 for the $300,000 robbery the previous year of an armored truck outside a bank in Revere. In 2001, he was sentenced to 51 months in federal court for being a felon in possession of a weapon.
The Suffolk Superior Court documents that disclosed his informant status were filed by Boston attorney Robert A. George on behalf of his clients Joseph Giallanella and Michael Petrillo, two alleged players in Rossetti’s crime ring. They are seeking to have evidence gathered from the State Police wiretaps suppressed based on Rossetti’s relationship with the FBI.
According to the court filing, Rossetti and his handler discussed possible involvement of Rossetti’s cousin in the 1990 art heist at Boston’s Isabella Stewart Gardner Museum. They also discussed other Mafia figures and Rossetti’s debt collections.
James Alan Fox, a criminology professor at Northeastern University, said, “There’s information you can get from informants that you can’t get from anywhere else.’’
But “the issue is you can’t rely too heavily on them,’’ he said. “There’s always issue with the reliability of their information, and law enforcement should work to do its own investigation other than rely on the testimony of nefarious individuals.’’
Gardner Art Heist Theory
It was a cold winter afternoon in 1998, nearly eight years after the theft of 13 priceless artworks from the Isabella Stewart Gardner Museum, and the FBI finally had some good news for Anne Hawley, the museum director.
As they walked the bare grounds that surround the museum that February day, Special Agent W. Thomas Cassano told Hawley, according to notes made after the conversation: “It looks like we know who did it. One is in jail, one is dead, and one is on the street.”
The FBI, Cassano said, had picked up the Gardner trail during an undercover operation targeting Dorchester crime boss Carmello Merlino. Word was that Merlino, along with three South Shore men, had been responsible for the historic heist
And so the agency went all out. One of the three Merlino confederates was dead, but they pressed the other two hard. Agents put an undercover informant in the jail cell of one, Peter Boylan of Weymouth, and later offered to drop federal charges against the other, David Turner of Braintree, if he would tell what he knew.
No dice.
The men kept their silence, and the investigation, in the end, didn’t yield much. Like so many other apparent clues to what remains the largest unsolved art theft in history, this one led to an apparent cul-de-sac.
Turner and the others are in the news again, courtesy of a new book that identifies Turner as the most likely subject. But the reality is more complicated and elusive, which is ever the way with this case. If claims of proof were the same as proof, the Gardner would have had its paintings back years ago.
Still, there are aspects of the Turner-Merlino tale that remained tantalizing, even as the trail grew cold.
A member of Boylan’s family told the Globe in 2006 that the FBI focus was drawn to Peter Boylan, the son of a Boston police officer, after the young man engaged in idle and baseless boasting about the theft while in a jail cell.
Turner’s lawyer, Robert Goldstein of Boston, said his client has repeatedly denied having anything to do with the Gardner theft. Goldstein questioned why Turner, who is now serving a 30-year prison sentence after being convicted of armed robbery in 2001, would not cooperate with authorities and seek a reduction in sentence.
But while the several FBI agents who have been assigned the case have worked tirelessly chasing tips – the latest being searching without luck two possible stash houses in Maine and Dedham – the investigation has lacked a major commitment of manpower and coordinated strategy. The probe now rests primarily with one FBI agent who is also responsible for investigating other major thefts covered by the Bureau’s Boston office.
In addition, the FBI’s decision to handle the case entirely on its own, without the assistance of local and Massachusetts State Police, has undercut the probe’s effectiveness, according to local and State Police officers. For example, even though State and South Shore police coordinated a drug investigation that kept Merlino, Turner, and others under surveillance during the 18 months before and after the Gardner heist, the assistance of those officers was never sought by the FBI working the Gardner case.
Had they, they might have learned that the surveillance showed that Turner’s girlfriend was telling callers that he was on a “mini-vacation” in Florida during February and March 1990. While in Miami, three days before the Gardner robbery, Turner purchased $645 worth of unspecified merchandise from the Spy Shops International in Miami, a store that specialized in the sale of undercover and electronic surveillance equipment. Also viewed by the Globe was a receipt that showed Turner’s American Express card was used in Fort Lauderdale on the return of a leased car on March 20, 1990, two days after the robbery. While the receipt appears to be signed by Turner, another person’s Social Security card number is written on the receipt, which investigators say suggests someone other than Turner might have been using his credit card that day. Goldstein, Turner’s lawyer, declined comment on the documents.
In addition, Turner was observed by police surveillance in September 1991 carrying an “Oriental vase” from his car into the Boston office of Alfred Sollitto, a lawyer with whom he had become acquainted. Among the 13 items stolen from the Gardner Museum was a vase-like, Chinese bronze beaker. Sollitto acknowledged in an interview that he was a friend of Turner’s but could not recall Turner ever bringing a vase to his office.
On paper, too, the focus on Turner and his comrades made some sense.
Turner was tough, smart, and aggressive and in the months before and after the March 18, 1990 theft at the Gardner, he had pulled off two armed robberies of homes in Canton and Tewksbury. When his two associates in those crimes began cooperating with authorities, both were killed. No one has been charged in the murders, though police questioned Turner about them.
Although he grew up in middle-class Braintree, Turner, according to police, aspired to make it as a mobster. His ticket to that netherworld was provided by Merlino, a convicted drug dealer who ran an auto body shop in Dorchester, and had been aligned with organized crime figures Francis (Cadillac Frank) Salemme and his brother John (Action Jackson) Salemme, since the early 1960s.
Through Merlino, Turner might have learned something about vulnerabilities of the Gardner from Ralph Rossetti, the patriarch of an East Boston crime family, who was friendly with Merlino and had plotted to attack the museum in 1981. FBI agents held an emergency meeting with museum officials in September 1981 and told them Rossetti and another career criminal were planning to throw smoke bombs into the museum during a Tuesday night chamber music performance and in the ensuing chaos speed through the galleries and steal priceless paintings.
Although the pair were not prosecuted for that plot, they were convicted of breaking into a Newton home a few months before the planned Gardner robbery and stealing 23 valued paintings, rare coins, and jewelry.
Ralph Rossetti died in 1998, but Merlino stayed in contact with his family members. The following year he called on Stephen Rossetti of East Boston, Ralph Rossetti’s nephew, to join him in robbing the Loomis-Fargo armored car warehouse in Easton of $50 million.
Turner was the fourth member of the gang.
Turner has also been the focus of some intriguing jail house whispers about the Gardner case. Robert Beauchamp, who is serving a life sentence in MCI-Norfolk, says Turner, accompanied by an associate George Reissfelder, visited him in prison in 1991 and Reissfelder told him they had pulled off the robbery and that the Gardner paintings had been hidden in a house in Maine.
The Loomis-Fargo heist was foiled when the FBI became aware of the scheme through an undercover informant and arrested them before they could reach their target. According Martin Leppo, a Brockton lawyer who represented Merlino and Turner in the past, FBI agents approached both men after their arrests in their holding cells and told them that if they would cooperate on the museum case, the charges against them would be reduced or dropped.
Both maintained their silence then and at trial, and received long prison sentences. Merlino died at age 71 in federal prison in 2005 without providing useful information to the authorities on the Gardner theft. Turner, whom Leppo nicknamed “Hollywood” because of his boyish good looks, is not due to be released until 2032, when he will be 65 years old. “These are not men who cooperate easily,” Leppo said. “Not unless they have nowhere else to turn.”
Art Hostage Comments:

Knowing who committed the Gardner Art Heist does not recover the Gardner Art.

Authorities have been turning a blind eye to many serious crimes over the years in Boston so why not turn a blind eye to the Gardner art coming home ?

Art Hostage does not seek a single dime from any reward offered by the Gardner Museum.

Time for everybody to hold their collective noses and allow the Gardner Art to surface.

Remember for every criminal Italian American there are one hundred honest, hardworking, decent, honourable and patriotic Italian Americans, Charles Vincent Sabba and Anthony Amore to name but two.

Saturday, August 06, 2011

Stolen Art Watch, Amore-Sabba, Men Of Respect !!

Mr. Anthony Amore's portrait will be revealed soon at Gardner Gossips:

Charles Vincent Sabba states: "I have alot of respect for this man.

As an American art lover, I am content the Gardner Museum had enough sense to hire a such a man of intense ability and high integrity.

As an American of Italian origin, I feel a sense of great pride that a fellow Ital-American is making such a fine contribution to the protection of the cultural patrimony and artistic treasures of the United States of America.

Back in 1990 there was a lot of criticism of the lax, ridiculously low budget security that was in place at the Gardner (indeed, a pothead musician security guard was in on the crime).

I criticized the museum for their security many times, but that was the distant past. Today, thanks to Anthony Amore and his highly professional staff, the most amazing museum in America is secure. Grazie Dottore Amore!"
(B.O.L.O. for your portrait that I will unveil here soon!)

Flashback: Anthony Amore Interview

Art Hostage Interviews Anthony Amore

(1) What is your favourite colour

Anthony Amore: That’s easy: the Azzurro of the Italian national soccer team.

(2) What is your favourite curse word

AA: I have too large a stable to choose from to pick just one.

(3) When you reach Heaven what would you like God to say to you

AA: Anthony, you did your best.

(4) The public reward offer made by the Gardner Museum contains the line “in good condition” can you elaborate on this because some of the stolen Gardner paintings were cut from their frames, therefore their condition could not be described as good.

AA: The Museum’s Board of Trustees is aware that two of the stolen paintings were cut from their frames and were damaged in the process.

This fact was taken into account when the verbiage surrounding the reward offer was crafted and the fact that the paintings were cut from their frames will not adversely affect an individual/s eligibility to cash in on the $5 million reward if the stolen artworks are returned in otherwise good condition.

(5) Can you confirm the amount of stolen artworks from the Gardner museum as there have been indications the list is not completely true, i.e. Eagle was not stolen

AA: I can definitively confirm that thirteen works of art were stolen. The Napoleonic finial which rested atop the flag of Napoleon’s first regiment was indeed among the art objects that were stolen during the heist. Some early newspaper accounts incorrectly stated that twelve pieces were stolen and that reporting error is still perpetuated in articles now and then.

(6) It is common knowledge within the stolen art world, both the Criminal underworld and those who recover stolen art, that Mark Dalrymple and Dick Ellis both met with Gardner Museum Director Anne Hawley and subsequent to those meetings both Mark Dalrymple and Dick Ellis came to the conclusion the reward offer was not sincere, can you please put the record straight once and for all.

AA: If your readers can take away only one message from this interview, it is that Anne Hawley is a woman of the utmost integrity.
For more than 18 years, Hawley has stated publicly that the Museum is offering a reward of $5 million for information leading directly to the recovery of the all 13 pieces in good condition.

She would not make this statement if it were not absolutely true. Further, Anne’s commitment is echoed and fully supported by the Museum’s Board of Trustees.

It also bears mention that the Board of Trustees re-authorized the reward this past November – and all of us at the museum look forward to the day when the stolen artworks are returned to the museum and to an awaiting public where they belong and can make good on the $5 million offer.

(7) To prevent any stings and arrests at the actual recovery of the stolen Gardner art, do you agree a neutral place should be chosen and then authorities, or better still Anthony Amore, is directed to the location to collect the stolen Gardner art?

AA: The museum can ensure confidentiality to anyone with information leading to the recovery of the stolen artworks. My hope is that whoever is in possession of Mrs. Gardner’s art will come forward in a manner that best protects the condition of the artwork.

(8) If you agree with a neutral location to receive the stolen Gardner art, do you also agree a Catholic Church confession box would be ideal, not least because of the symbol of absolution and also because a Catholic church confession box prevents any trace as to who handed back the stolen Gardner art.

AA: In an absolute best case scenario, I believe it best that the art not be moved at all so that the museum’s conservators can handle any movement, thus protecting the art in the best possible manner. In line with this, I would remind those in possession of the art that it should be stored at 70 degrees Fahrenheit and 50% humidity.

My hope is that an individual/individuals with information that will help us locate the stolen artwork will come forward – and that he or she will come forward in a manner that best protects the condition of the artwork. Again, the museum can ensure complete confidentiality of anyone with information leading to the recovery of the stolen artworks.

(9) Geoff Kelly, lead FBI Agent in charge of the Gardner Heist investigation is clearly a thoroughly decent and honest hardworking FBI Agent, how will the FBI react if they are not included in your recovery of the stolen Gardner art, will they allow it to happen, will they stand aside.

AA: Special Agent Kelly has proven to me that his main concern is the return of all of the art in good condition. The FBI and the United States Attorney’s Office, have given me every reason to believe that they are, as is the museum, seeking a successful resolution to this tragedy, not credit.

(10) There have been many references to Ireland during the Gardner Heist investigation can you confirm your findings

AA: As an open, active investigation, I cannot speak to any specific theories or leads in the case – other than to say that the museum follows each and every lead and encourages anyone with any information about the stolen artworks and/or the investigation–no matter how seemingly small – to contact me, Anthony Amore, Director of Security, directly at 617/278-5114 or .

The museum is offering a reward of $5 million for information leading directly to the recovery of the stolen artworks in good condition, and can ensure confidentiality.

(11) Dick Ellis claims he obtained an immunity agreement from the Boston D.A. in 2002, have you obtained an immunity agreement, if so, would it be possible for Art Hostage to post it on the blog so the public, and those in control of the stolen Gardner art can review it.

AA: Because the matter is in the hands of the Federal government, your question would pertain to an immunity agreement from the United States Attorney for Massachusetts. I have no information about such an agreement, although, I can say that United States Attorney Sullivan has in the past expressed a willingness to grant immunity (depending on the circumstances, of course) in this matter.

(12) We have, and the criminal underworld have, seen the Lawyers and private detectives who handed back the Da Vinci Madonna arrested and indicted, what assurances can you offer to allay the fears of those with the stolen Gardner art they will not suffer the same fate

AA: The Museum’s sole concern is the recovery of all of the art in good condition. The Museum is offering a reward for $5 million for information leading to the recovery of the stolen artworks in good condition – and can ensure confidentiality. Anyone with information about the theft or the location of the stolen artworks can contact the museum – and me directly via or my direct line, 617 278 5114. Matters related to arrests and indictment are the responsibility of Federal law enforcement authorities.

(14) Some people have said over the years they thought the Gardner art was really insured and the $5 million reward offer is coming from the insurance payout, can you confirm whether the Gardner art was really insured, and if not, where has the $5 million reward come from and is it sitting in an account waiting to be paid.

AA: The Gardner art was most definitely not insured. These stolen artworks are invaluable and irreplaceable. The $5 million reward is indeed real, and the Museum is eager to disburse the full $5 million the reward for information that leads directly to the return of the stolen artwork in good condition.

(15) How do you intend to pay the reward, have you obtained permission from the FBI and the Boston D.A. to pay the reward without informing them.

AA: The reward is being offered by the Isabella Stewart Gardner Museum, not the FBI or the D.A. and will be paid by the Museum at its discretion on the receipt of information that leads to the return of all of the stolen artworks in good condition. The reward will be awarded at our discretion.

(16) Do you intend to keep FBI Agent Geoff Kelly informed as to your negotiations, or will you work without a net, so to speak.

AA: Special Agent Kelly has expressed his willingness to support me and the museum’s efforts to recover our art. He respects our working relationship and the museum’s needs to pursue its interests directly

(17) Would you be prepared to recover the stolen Gardner art covertly and face the wrath of law enforcement post-recovery.

AA: I don’t foresee facing “the wrath of law enforcement.” I see law enforcement as an understanding partner in my efforts to recover the Gardner’s stolen artworks – and to return them to the museum, and an awaiting public, where they belong.

(18) Would you be prepared to break the law, even go to jail, in recovering the stolen Gardner art.

AA: Absolutely not.

(19) If you were able to only choose one stolen Gardner painting to recover, which one would that be, Art Hostage would choose the Vermeer.

AA: I am well aware of Art Hostage’s love for the Vermeer, and it speaks to your good taste in art! We at the Museum see all 13 pieces as parts separated from the entirety of Mrs. Gardner’s collective work. She placed each of the thousands of pieces of work in the Museum in an exact location in order to create a larger work of art. With even one piece gone, her work is incomplete.
(20) How do you react to those (Mark Dalrymple) who accuses you of being nothing more than a civil servant pen pusher who has no authority and experience in recovering stolen art.

AA: Mr. Dalrymple and I do not know each other. I’ll assume that this accusation—if truly made—was taken out of context.

(21) Rocky has been working for the Gardner Museum for a few years now and has received payment for his work, how do you react to those (Mark Dalrymple) who say Rocky is just scamming the Gardner Museum without any realistic prospect of recovering any of the stolen artworks.

AA: I cannot confirm that your depiction of Mr. Rokoszynski’s relationship with the Museum is accurate. I can say that I know Mr. Rokoszynski very well. He is an investigator with a record of remarkable success in his distinguished career with Scotland Yard. I trust him and consider him a close friend and valued mentor. In my years of dealing with him, he has acted with honor and integrity. I seek his counsel regularly, and the Museum welcomes his guidance and assistance in our recovery efforts

(22) Finally Anthony, imagine Art Hostage could convince those with the Gardner art to hand the Vermeer back via a Catholic Church confession box, how would they get paid the reward.

AA: I don’t know that it serves the Museum or those in possession of the art well to disclose publicly how the reward would be handled, other than to say that it would be handled legitimately and discreetly. Further, there are myriad ways in which the reward could be paid out, so it is difficult to speak to this with any useful specificity.

(23) Alternatively, lets take it step by step, Anthony could you take us through each step of your proposed recovery of the stolen Gardner art, avoiding arrests and ending with the reward payments made.

AA: Art Hostage, I welcome you to ask me that question again after the recovery!

Thank you for the opportunity to address these important matters – and for the work you do.

Charles Vincent Sabba Interview

Art Hostage- In your painting Michel the Merry Drinker, Michel is so clear it brings the Merry Drinker up to date and allows us to see through the stereotype of a dirty, un-kept drinker.
To me this shows drinking can be merry, even though excessive, it shows life can go on even if heavy drinking is a major part. Why have you painted this depiction of Michel Van Rijn as the Merry Drinker of Frans Hals?

CS- Michel has an interesting face and a strong character. He is one of those larger than life personalities that attempt to force an acknowledgement of their presence and abilities on the world. Many people hate him and some love him, but whether or not you approve of him or his style of operating, an honest person would have to admit Michel, and the life he has lived, is very interesting. Sometimes one crosses paths with a person who believes they are pre-destined for greatness. I wanted to capture this self-confidence in his face and eyes. Yes, as you have said, he does not appear in the picture to be an incoherent, slobbering drinker, but an alert, clear minded human being who is confident of his abilities and possesses self-assuredness that he is destined for greatness. He appears to be cloaked in the dignity of man (as I like to paint all of my subjects), albeit one who indulges in all of the available fruits and joys that life has to offer.
I see an old school adventurer in Michel Van Rijn. Prior to, and in, the early 20th century, we had many freebooters who were steeped in Nietzschean thought, created their own value systems and did not believe that man’s justice could touch or judge them. I’m talking about men like the poet Gabriele D’Annunzio, the writer and cultural minister Andre Malreaux and the artist Amedeo Modigliani, to name three of my favorites. Again, whether or not you like them as people or approve of their work is not the point. The point is that they created amazing works and attempted feats of action and daring that you just don’t see as frequently in the world today. Also, they constantly attempted to reinvent themselves making something stronger and more powerful on top of what went before. Michel for sometime had a Machiavellian approach to life and I see in his biography a mirror of Rudiger Safranski’s ideal of Nietzsche’s Ubermensche, that being a combination of ruthless warrior pride and artistic brilliance that was prominent in the Italian Renaissance princes.
I have not always approved of how Michel has treated some of the people he has had issues with in the past, but I respect his abilities, such as his profound knowledge of art and antiquities, his survival skills and some of the amazing feats and stunts he has pulled off. One feat of his I am particularly fond of is the faking of an artifact and getting it included into a major auction house catalogue, only to inform them on the day of the auction that they were duped. The auction had to pull the piece and admit it was a fake. This was Michel’s way of saying that sometimes even our art world’s largest institutions may be corrupted, as he implied that their experts must have known the piece was a fraud, but included it in the catalogue anyway just to make the sale. That stunt showed an inclination of artistic brilliance.

AH- What attracts you to Frans Hals?

CS- I’ve always been very passionate about the Italian old masters and spent a lot of time looking at their works and reading their art histories. I neglected my Dutch studies until I was enchanted by the Isabella Stewart Gardner Heist magic spell that has been cast on so many of us in the investigative world. I fell in love with Rembrandt’s works of genius and eventually discovered that Frans Hals was an outstanding portrait artist. Hals just resonates with me. One good thing about being an art lover in New York is that our museums own quite a number of Dutch works by Vermeer, Rembrandt and Hals.

AH- The Gardner Gossips blog was created to promote the huge canvas Gardner Gossips, what is the back-story to this project?

CS- This painting is 8 feet tall and 6 feet 8 inches wide. There are two versions of 32 different faces all talking to each other. Paul “Turbo” Hendry commissioned this piece for his son last March. He told me he thought it would be appropriate if an artist painted most of the main suspects and characters who have been involved in the Isabella Stewart Gardner Museum Heist investigation. Turbo mused that over the last twenty years many suspects, investigators, reporters, writers, curators, documentary film directors and art experts have had much to say about the heist, who they thought pulled it off, and where they thought the paintings are, but to date no one really has a clue. Many books have been written, but they are books without an ending. Thousands of articles have been written that have started out with “On March 19, 1990, at 01.24 hrs, two thieves dressed as cops…. .” There has been a lot of talk and many leads in the investigation, but not a trace of the $500 million in art.
I start the picture with Isabella Stewart Gardner, she is talking to Rembrandt and it appears she is telling him his works are about to get nicked off of the walls. He turns to the person next to him and tells him. This continues through all 32 subjects and ends with the last person turning back to Isabella. Every character we chose for this canvas is bigger then life. Very interesting people with very handsome and beautiful, strong features. One cannot find an American in history much more interesting then the eccentric art-loving Isabella. There are the reporters Mashberg, Kurjian, Jill Rackmill and Brian Ross; suspects like William Youngworth and Myles Connor, who were once close friends and then ended up bitter enemies; Gangsters like Whitey Bulger and the FBI agent Connolly who was in Bulger’s pocket. Don’t forget the politico Bulger who grew up with his brother Whitey and agent Connolly in the Southie projects. There are many very intricate and intriguing stories behind all of the people and their relationships to each other on this canvas that transforms it into a Herculean epic poem in oil paint.
My friend William P. Youngworth III visited my studio and posed for portraits. He is the first person who is depicted on the canvas to see it in person the second was Oliver Hendry when he visited last March. Billy Youngworth is an amazing person and again, he epitomizes what I am saying about the wide array of characters, one more interesting then the other that has been a part of the Gardner heist tragedy. Billy was really beat up by everyone since he emerged as a suspect. He was attacked and double crossed by the Feds and law enforcement, he was thoroughly abused by the press, especially Tom Mashberg who attempted to “smoke him out,” and he was even targeted by some criminal groups, one of which planned to kidnap his son to force him to reveal info about the whereabouts of the stolen masterpieces. In spite of all of these trials and hardships he remained strong. He proved to be quite resilient, A real survivor. Billy never changed or backed away from his claim to be able to help facilitate the return of those art works. Everyone thought he would break or make mistakes, but he was very stoic and toughed out the hardships. Now, years later he owns and runs an extremely successful antiques business. More importantly he has proven to be a loyal husband and a loving father. His kids have turned out great. He has now turned his back on the Gardner caper and confidently states that both the museum and the authorities blew their only chance to recover the works. He boldly states that the works won’t resurface for at least another hundred years. I have painted Billy onto the Gardner canvas as he appeared back in the 1990s, and I am currently painting two portraits of him as he appears now. He has been a great supporter of me as an artist and has visited both my old Manhattan studio and my current New Jersey studio in the Rahway Arts District of Rahway, New Jersey many times.

AH- What are you trying to achieve by depicting figures from the art crime world and where do you see the convergence sometimes referred to as the grey area?

CS- First and foremost my ardent desire is to conduct “visual investigations” in the art theft world. I, as a trained police observer and visual artist, wish to document this realm in the same spirit that the war artists documented the people and action of WWII. This is my niche; this subject is what I, as an artist who is employed as a law enforcement officer, was naturally attracted to and fascinated by.
Second in importance is getting to know interesting people in the art world. I want to approach these portrait subjects, not as a police officer, but as an artist. I want to establish myself as a neutral observer. My intention is not to lock these people up, or get them charged for crimes they may have had committed, my intention is only to paint the involved men in women in all their human dignity. I want to know everyone in the art crimes arena. I want to forge true friendships with people I can trust, but I am also content in developing instrumental friendships and mere acquaintances as well. I will let the person’s words, actions and sincerity decide what group they are slotted into in my mind. I like to know very interesting people in the art scene and art theft investigators, art thieves, antiquities smugglers, forgers, and stolen art fences have proven to be very, very fascinating to talk to. Many reporters and investigators often insist there aren’t lady or gentlemen thieves who are aesthetes who appreciate the beauty in that in which they steal. Also, many of the masters and doctorates in the art world underestimate the level of art history knowledge an investigator or police officer can attain. To the art snobs that are out there, and unfortunately there are some, both groups are just knuckle draggers and thugs with mediocre or no level of sophistication. I can tell you that amongst both art theft investigators and art world criminals, I have found some very intellectual people who have a sound grasp of art history and art theory and have a feel for what is going on in the contemporary scene as well. Granted, the conversation is usually dominated by, or at least flows back into, business as usual, that being the investigations, art crimes, market place values, and war stories. But don’t underestimate criminals and never underestimate the police. A good investigator can attain important knowledge swiftly when he gets on a case and there are many lady and gentlemen gumshoes out there prone to aesthetic thought. I remember when I first met Scotland Yard’s Vernon Rapley I was impressed that he would spend his lunch breaks visiting the National Gallery. I think veteran investigators like Col. Musella, Gen. Conforti, Dick Ellis, Charlie Hill, and Bob Wittman can hold their own in conversations with the best in the curatorial field. As far as criminals go, if they are art lovers and they get locked up, they have the advantage of time to devour art history and theory books and magazines in the prison library or in their cell, and time is a commodity many of us don’t have. When I studied at the School of Visual Arts in Manhattan, one of the teachers, Monroe Denton, insisted we read the NY Times daily, all the art magazines in existence, all the important works by various critics, and many, many important art theory books. I have tried to keep this impossible discipline up the best I can, but there is so much to read and learn and so little time to accomplish this. Convicts have nothing but time on their hands and some are very well read.
Before I became a police officer I worked as a correctional officer for four and a half years. I worked a full year in a federal maximum security witness protection unit and I met a convict there who was involved in the art world. I told this protected “pentito” that Michelangelo Buonarroti was a hero artist of mine and he turned me onto De Tolnay’s writings. He couldn’t believe I had not read DeTolnay. He also turned me onto the Irving Stone novel Agony and Ecstacy which I ended up loving. So you see, knowledge and influence can come from the least expected places and I like to absorb from all interesting people I meet. I study them, pick their brains, then suck knowledge from them and make it my own. That is one way I constantly reinvent myself and build on what was there before.
Third and not least, I hope to build enough trust in the criminal circles that they get comfortable enough to tell me important info that may be helpful in stolen art recoveries. Hopefully, after word gets out that I can be trusted and am not out to hurt anyone or get them locked up, I will be asked to act as a middleman in recoveries between both law enforcement/institutions and the thieves. There is a sort of hairdresser effect when someone is painting your portrait. Everyone opens up to the hairdresser and barber. They end up being the all knowing in a neighborhood. The same goes for a portrait artist. People get comfortable and open up.

AH- What draws you towards the law enforcement and underworld figures that operate within the art crime arena?

CS- In the art crime arena, as in all areas of the art world, you can meet both boring art snobs as well as exciting, interesting people. The murky seas of the world of art crimes is very small and the people who navigate its waters often cross paths and know each other, or at least know of each other. I, as a navigator in this perpetual odyssey of human creation, want to be known as the explorer who actually charted those waters visually.
You could never find more interesting people, or stronger intellects, as you find in the art crimes arena. The art theft investigators you find there, such as Vernon Rapley, Ian Lawson, Michelle Roycroft, Dick Ellis, Col. Musella, Robert Wittman, to name a few are the most upstanding and dedicated law enforcement personnel I have ever met. To me, they are the defenders of culture and their level of excellence and dedication to recovering the world’s patrimony should never be underrated.
As far as criminal operators go, many are common thugs, some are crafty thieves that a Dickensesque Fagin would delight in breaking bread with, and a small number are actually accepted as geniuses who possess artistic brilliance, much like the poet Villon is accepted as, yes a criminal, but also an important poet.
Myles Connor is a fascinating example to discuss. Other police officers feel I should hate him because of his criminal past, not to mention that he once shot a cop. As an artist, I can’t help but see the strong visual in his face from various points of his life. I’ve painted him with his beard twice and he posed for me last year clean shaven while holding one of his 16th century Samurai swords from his collection. This is an outstanding portrait of Myles. I had lunch with him in Blackstone, Massachusetts last year, right after his book came out, and I really enjoyed hearing the episodes from the book first hand. For me life and literature, and life and art, often are a seamless unity. I don’t believe in judging people’s ethics or morals, I only judge levels of artistic skills and knowledge of art and aesthetics. Are you a Bourgeois Philistine, or are you an artist or aesthete. As far as ethics and morals are concerned, who is actually fit to judge these things? I am a cop. I arrest people. I’m not a judge. A judge sits on the bench and gets paid more then me. So I can strike up a friendship and break bread with any man or woman who shows me respect and offers a handshake in friendship.
When Myles was arrested for the art thefts at the Woolworth Estate and faced a long sentence with a habitual offender tag, a Rembrandt “fell off of the wall” at the Boston Museum of Fine Arts. Myles helped facilitate the return of the painting and received a reduced sentence. This was a perfect example of the mix of ruthless warrior pride and artistic brilliance I previously discussed. It was a brilliant move and in itself can be viewed as a conceptual art piece worthy of Maurizio Cattalan’s approval. As you may recall, Maurizio Catalan once burglarized the Galerie Bloom in Amsterdam and stole all of the gallery’s contents- the artworks, fax machines, filing cabinets-everything. He packed up the gallery’s property in boxes and transported them to Galerie de Appel where he exhibited them the next day under the title Another Fucking Readymade. This “theft” was a statement about displacement; one gallery was transported completely to another. The police were soon summoned. The owners of Galerie Bloom soon calmed down and made a deal to not press the issue if Maurizio would do a show in their gallery on a future date, so he did not get arrested and got another art show out of it. Brilliant.
Don’t get me wrong, I think art theft and art crimes involving the world’s cultural property are serious crimes against humanity, just as detrimental to humankind as genocide, human trafficking and slavery. But in both Myles and Maurizio’s cases works and items were stolen with the intention to return them and in both cases they were indeed returned with the actors’ desired results. Si guarda al fine, or the ends justify the means in an artistic sense. We as a society sometimes need to laugh at things. One of the reasons Andre Malraux had the big rift with the Surrealists was because he thought they took themselves too seriously. Malraux always said we shouldn’t take things too seriously and I agree- a little bohemian fumisme and blague is needed in life. And to avoid any criticisms or nasty phone calls, I do want to make it clear that I do not condone of the theft of the BMFA’s Rembrandt, nor do I find humor in it. As far as I remember, and this story was told to me by a participant in that crime, a guard was almost shot in this crime. There were guns present in the get away vehicle, so this was far from funny and a very serious crime. My point again is the artistic brilliance of the plot. This was a very creative chess move that got Myle’s a reduced sentence. I’m not one to judge morals or ethics, just ability and artistic creativity. Machiavelli and Cesare Borgia would have approved of the action as long as it went as planned. When the Pazzis killed Giuliano De’ Medici but failed to kill Lorenzo, the Florentine populace, who supported the Medici, still thought the plan was ingenious. The Pazzi were dubbed idiots not because they attempted to seize political power but because they failed. Their crime was not the murder of a Medici in the middle of the Eucharistic celebration, the crime was that they planned something that ultimately failed and led to their demise. I respect action and ability

AH- What is your favourite color?

CS- I love the entire color spectrum and for me they must be taken in by the retina in combinations to have a true psychological or emotional effect. I will use the colors of the heroic revolutions of the West as an example: red, white and blue (U.S.A. and France- rights of man); red, white and green (Italian Unification/ Young Italy); green, white and orange (Irish Independence); black, red, purple ( I Carbonari); to name a few, but not all, of the colors and flags I love.

AH- What is your favorite curse word, both in English and Italian?

CS- I don’t like to curse in English, because cursing in English sounds too vulgar and raunchy. Cursing in Italian can be very poetic and expressive. I say Non me ne frego un cazzo a lot. It was a favorite statement of one of my favorite poets, Gabriele D’Annunzio, and it exemplifies a stress free attitude towards life that I have accepted.

AH- Have you ever painted whilst drunk?

CS- Of course but it is very rare. When I work I am totally involved in my subject matter and do not need mind altering stimulus. I like to drink wine with my meals. My favorite is Barbera. I really love Sandro Chia’s wine as well. Sandro Chia founded his Castello Romitorio in 1984 and his wine is superb. I have become close friends with one of his U.S. distributors here in the U.S. I met this wine distributor at Sandro Chia’s last art exhibition at the Charles Cowels Gallery in Chelsea. I also met Sandro’s son Filippo who helps run Castello Romitorio.
Other then moderate drinking of wine with dinner, I only drink heavy when I’m out with my artist friends in Manhattan or Brooklyn. We like to party and absinthe, the real stuff, not the American version, is our favorite.

AH- Dean Martin portrayed himself as a drunk on stage, however, the truth was he only drank apple juice and the playing drunk was part of the act, do you think alcohol helps or hinders creating art?

CS- Unfortunately the art world has become quite conservative and it is frowned upon for an artist to attend exhibitions or art lectures intoxicated. In the 1980s and 1970s people were wild and had fun, but today one has to keep a professional bearing. I, however, like to remind myself of Henri Muger’s words of wisdom that art is more of a faith then a profession. Modigliani always painted while he was very drunk, but I would think any form of intoxication would usually hinder a creative flow.

AH- If you could have dinner with any historical figure, who would that be?

CS- Is that a romantic dinner date? I would definitely ask out Susan Valadon. Or any of the following sexy, intelligent ladies: Josephine baker, Lee Miller, Berthe Morisot. Oh yea, how about Lucrezia Borgia. I bet Lucrezia would be a hot date.

AH- What is your relationship with Oliver Samuel Hendry?

CS- Oliver is an amazing young man. I have no doubt that he will soon be known internationally as the new brilliant young British art collector on the scene. Oliver already has many of my works in his huge art collection. He has bought my entire past raisonne, or at least what I had left on hand, he has the 8’ by 6’ 8” Gardner Gossips and has paid in full in advance, he also commissioned and paid in full a 8’ by 10’ painting of the U.S. Presidents, and he is in the process of buying 32 portraits, all 24” x 28”, of various people involved in the art crimes arena.
The first time I met Oliver was last September when I stayed with him and his pop at their beach front home on the English Channel. Then he stayed with me for nine days here in the States when he came over to attend my art exhibition at the Y Gallery New York in the Bowery. We are going to spend time in Italy this July and August and I will visit them again in England next spring, when I am going to do an Ireland, England, Amsterdam sweep again in an attempt to get more art crimes subjects to pose for me. All in all, the Hendry’s are getting close like family.
My advice is to keep your eye on this kid, because he is going to be bigger then Charles Saatchi, or at least will be on a first name basis with Saatchi and attending his cocktail parties.

AH- What is your relationship with Turbo Paul Hendry?

CS- I first heard of Paul “Turbo” Hendry when I attended the Art & Antiques Crimes course in 2004. This was a class held by the Metropolitan Police Art and Antiques Unit at Scotland Yard. I then saw him in the Gardner Heist documentary Stolen. A brighton film company interviewed me and Billy Youngworth for a documentary called the Art of the Heist. Turbo and Dick Ellis were also in this and I was already curious about him. Then Ulrich Boser interviewed me for his Harper Collin’s book Gardner Heist. My self and Youngworth were in one chapter and Turbo was in another. So, long story short, I asked Ulrich to get me in contact with Turbo. As I said before, I like to know all the zany, interesting people in the art world and Turbo looked like a fun guy to know. Once we made contact, I turned him onto Skype and we would sit and talk about art and art theft cases for hours. We have really become best of friends. He is an amazing guy and much like Youngworth, was someone with a criminal past who completely turned his life around. He went on to further his education late in life and achieved his Masters Degree. He can talk fast and intelligently without missing a beat or losing his train of thought. I think this is an amazing skill. Also, he is very intuitive, almost psychic, in a way that he can sense what someone is feeling or thinking. These skills were acquired back in his “knocker” days and he has continued to perfect them.

AH- What would you like God to say to you when you finally meet?

CS- A lot of my outlook on art has been influenced over the years by the thoughts and beliefs of Michelangelo Buonarotti. In fact, he was such a heroic figure in my life that I named one of my daughters Michelangela in his honor. Michelangelo believed that an artist, instead of a mere imitator of nature, was a second creator, or a lesser creator under God’s guiding light. The artist as quasi-deity, whose mission on earth is to create. Nature is a weak reflection of reality, but God shared a small amount of his creative force with the artists and it is they who recreate the true reality of the world of ideas. When I am finally confronted by God the absolute artist, the creative force of the universe, I hope he will look at me and say that I was a good artist and that I fulfilled my mission on earth and left behind a significant body of work.