Stealing Rembrandts

"[A] gripping narrative."—The Washington Post


"[The authors] interview some of today's highest-profile art thieves . . . The most absorbing part of the entire book is the verbatim testimony from Myles J. Connor about how he cased museums, identified security weaknesses, planned his operations, implemented them, and sought to profit from the art he stole."—The Boston Globe

"Anthony Amore and Tom Mashberg have a textured feel for Rembrandt's work."—The Wall Street Journal

"A quick and entertaining read."—The Christian Science Monitor

"This is a terrific book, and excellently researched."—ARTnews

"A detailed look at numerous robberies targeting works by the great Dutch master over the past century. Combining impressive shoe-leather reporting skills with solid art-world knowledge, this fascinating book debunks many myths about museum heists while providing vivid profiles of the criminals and their motives . . . As Amore and Mashberg show, stealing a Rembrandt seldom pays off for the thieves but makes the world at large infinitely poorer. With hard facts and a cleareyed perspective, this book sets the record straight." —Associated Press

"A fast-paced and engrossing exposé of the shady underbelly of the art world."—Robert K. Wittman, New York Times bestselling author of Priceless: How I Went Undercover to Rescue the World's Stolen Treasures

"You don't have to appreciate art -- just entertaining true-crime stories -- to enjoy 'Stealing Rembrandts.' In this fast-moving account of some of the most daring art heists ever, art security expert Anthony Amore introduces a colorful real-life cast of sticky-fingered art-lovers you won't soon forget, especially the next time you find yourself in a museum checking out an exhibit of Old Masters, or new."—Howie Carr, bestselling author of Hitman and The Brothers Bulger

"Authors Amore & Mashberg are the Sherlock Holmes and Dr. Watson of the art world. True masters in their own right, they provide an unvarnished look at some of history's most notorious art heists, separating fact from popular fiction and defeating the notion that art theft is a victimless crime. On the contrary, Stealing Rembrandts is proof that plundering art for profit is more dangerous than we could ever have imagined."—Casey Sherman, bestselling author of Search for the Strangler, Bad Blood and The Finest Hours

"People often ask me, 'Why would anyone steal a high-profile piece of art? What could they do with it?' If you want answers read Stealing Rembrandts. This finely crafted chronicle of a century of Rembrandt thefts gives the reader rare and intimate access to the strange milieu of the art heist."—Rebecca Dreyfus, director of Stolen

"Stealing Rembrandts offers a rare inside look into a world few of us know beyond headlines and Hollywood. By weaving together Rembrandt's own story with exclusive interviews and insights into the men who have stolen his masterpieces, authors Anthony M. Amore and Tom Mashberg do a masterful job of connecting the artist and his thieves across the centuries. Along the way, they explode myths and reveal the true nature of the criminals and their crimes. Most of us can't hope to hang a Rembrandt on our walls, but the good news is that we can eagerly add this book to our collections."—Mitchell Zuckoff, author of Lost in Shangri-La
"Stealing Rembrandts is thoroughly researched and filled with memorable characters. It is a fascinating and entertaining read."—Milton Esterow, publisher of ARTnews

"The authors smash myth after myth, many of them the result of unrealistic movies of the James Bond variety . . . An interesting mish-mash of everything related to the thievery of valuable art."—Kirkus Reviews
"Art history meets C.S.I. in this account of the theft of works by Rembrandt Harmenszoon van Rijn, the most prolific master painter of the Dutch Golden Age. Amore and Mashberg narrate heists ranging from noir to farce, weaving in details about the historical relevance of each work and background on the artist . . . The authors convey the importance of Rembrandt's works as historical and cultural touchstones and argue that art theft is a 'crime against all of us.'"—Publishers Weekly