NCJ Number
84333
Date Published
1981
Length
13 pages
Annotation
The extent and criminal methods of art theft are discussed, followed by consideration of the planning of a security program, training the art theft investigator, precautions for art owners and dealers, the need for a centralized index system of stolen art, and techniques and technical aspects of art theft investigation.
Abstract
Worldwide art theft has increased consistently in recent years, composing about 5 percent of all property losses in 1976. Art thieves tend to use the methods of stealth, intimidation, and violence customarily associated with thefts of other types of property. The thief will often sell stolen art through a fence who may pay the thief a fraction of the market value of the art or find a client for the stolen art for a specified sum. Art thieves also try to sell their stolen wares to galleries, antique shops, or restorers or try to slip them through auction house sales. Once an officer or a number of officers are assigned to conduct art theft investigations, a training program should be developed that includes investigative techniques, art history, the art market, developing abilities to recognize fraudulent art, police liaison with the art community, security problems in protecting art, modern recordkeeping procedures, and undercover operations. A superior informant and liaison program with the art community is as essential aspect of successful art theft investigations. In handling recovered art as evidence, every effort should be made to ensure that the art is properly cared for. A primary investigative need is to develop a central index to which the investigator could refer either for leads or to enter art theft reports. Agencies and organizations that should be informed of an art theft are listed. Four notes are provided.