"Enthralling." -- In this spellbinding portrait of obsession and flawed genius, the best-selling author of For centuries, works of art have been stolen in countless ways from all over the world, but no one has been quite as successful at it as the master thief Stéphane Breitwieser. Carrying out more than two hundred heists over nearly eight years--in museums and cathedrals all over Europe--Breitwieser, along with his girlfriend who worked as his lookout, stole more than three hundred objects, until it all fell apart in spectacular fashion. In This is a riveting story of art, crime, love, and an insatiable hunger to possess beauty at any cost....

Autorentext

Michael Finkel

Zusammenfassung
#1 NEW YORK TIMES BESTSELLER • One of the most remarkable true-crime narratives of the twenty-first century • “The Art Thief, like its title character, has confidence, élan, and a great sense of timing."*—The New Yorker**

*A BEST BOOK OF THE YEAR: The Washington Post, The New Yorker, Lit Hub

"Enthralling." —The Wall Street Journal**

Stéphane Bréitwieser is the most prolific art thief of all time.

He pulled off more than 200 heists, often in crowded museums in broad daylight.

His girlfriend served as his accomplice.

His collection was worth an estimated $2 billion.

He never sold a piece, displaying his stolen art in his attic bedroom.

He felt like a king.

Until everything came to a shocking end.

In this spellbinding portrait of obsession and flawed genius, Michael Finkel gives us one of the most remarkable true-crime narratives of our times, a riveting story of art, theft, love, and an insatiable hunger to possess beauty at any cost.

Leseprobe
1

Approaching the museum, ready to hunt, Stéphane Breitwieser clasps hands with his girlfriend, Anne-Catherine Kleinklaus, and together they stroll to the front desk and say hello, a cute couple. Then they purchase two tickets with cash and walk in.

It’s lunchtime, stealing time, on a busy Sunday in Antwerp, Belgium, in February 1997. The couple blends with the tourists at the Rubens House, pointing and nodding at sculptures and oils. Anne-Catherine is tastefully dressed in Chanel and Dior bought in secondhand shops, a big Yves Saint Laurent bag on her shoulder. Breitwieser wears a button-down shirt tucked into stylish pants, topped by an overcoat that’s sized a little too roomy, a Swiss Army knife stashed in a pocket.

The Rubens House is an elegant museum in the former residence of Peter Paul Rubens, the great Flemish painter of the seventeenth century. The couple drifts through the parlor and kitchen and dining room as Breitwieser memorizes the side doors and keeps track of the guards. Several escape routes take shape in his mind. The item they’re hunting is sheltered at the rear of the museum, in a ground-floor gallery with a brass chandelier and soaring windows, some now shuttered to protect the works from the midday sun. Here, mounted atop an ornate wooden dresser, is a plexiglass display box fastened to a sturdy base. Sealed inside the box is an ivory sculpture of Adam and Eve.

Breitwieser had encountered the piece on a solo scouting trip a few weeks earlier and had fallen under its spell—the four-hundred-year-old carving still radiates the inner glow, unique to ivory, that feels to him transcendent. After that trip, he could not stop thinking of the sculpture, dreaming of it, so he has returned to the Rubens House with Anne-Catherine.

All forms of security have a weakness. The flaw with the plexiglass box, he had seen on his scouting visit, is that the upper part can be separated from the base by removing two screws. Tricky screws, sure, difficult to reach at the rear of the box, but just two. The flaw with the security guards is they’re human. They get hungry. Most of the day, Breitwieser had observed, there is a guard in each gallery, watching from a chair. Except at lunchtime, when the chairs wait empty as the security staff rotates shorthanded to eat, while those who remain on duty shift from sitting to patrol, dipping in and out of rooms at a predictable pace.

Tourists are the irritating variables. Even at noon there are too many of them, lingering. The more popular rooms in the museum display paintings by Rubens himself, but these pieces are too large to safely steal or too somberly religious for Breitwieser’s taste. The gallery with Adam and Eve features items Rubens collected during his lifetime, including marble busts of Roman philosophers, a terracotta sculpture of Hercules, and a scattering of Dutch and Italian oil paintings. The ivory itself, by the German carver Georg Petel, was likely received by Rubens as a gift.

As the tourists circle, Breitwieser positions himself in front of an oil painting and assumes an art-gazing stance. Hands on hips, or arms crossed, or chin cupped. His repertoire includes more than a dozen such poses, all meant to connote serene contemplation, even while his heart is revving with excitement and fear. Anne-Catherine hovers near the gallery’s doorway, sometimes standing, sometimes sitting on a bench, always with an air of casual indifference, making sure she has a clear view of the hallway beyond. There are no security cameras in the area. There’s only a scattered handful in the whole museum, and he has noted that each has a proper wire; occasionally, in smaller museums, they’re fake.

A moment soon comes when the couple is alone in the room. The transformation is explosive, a flame to the fuel, as Breitwieser sheds his studious pose and leaps over the security cordon to the wooden dresser. He digs the Swiss Army knife from his pocket, pries open a screwdriver tool, and sets to work on the plexiglass box.

Four turns of the screw, maybe five. The carving to him is a masterpiece, just ten inches tall yet dazzlingly detailed, the first humans gazing at each other as they move to embrace, the serpent coiled around the tree of knowledge behind them, the forbidden fruit picked but not bitten: humanity at the precipice of sin. He hears a soft cough—that’s Anne-Catherine—and vaults away from the dresser, light-footed and fluid, and reassumes art-watching mode as a guard appears. The Swiss Army knife is back in his pocket, though the screwdriver is still extended.

The guard walks into the room and stops, then scans the gallery methodically. Breitwieser contains his breathing. The officer turns around and is barely beneath the doorway before the theft resumes. This is how Breitwieser progresses, in fits and starts, grasshoppering about the gallery, a couple of turns of the screw, then a cough, a couple more, then another.

To unfasten the first screw amid the steady drip of tourists and guards requires ten minutes of concentrated effort, even with the margin for error shaved thin. Breitwieser does not wear gloves, trading fingerprints for dexterity and touch. The second screw is no easier, finally yielding as further visitors arrive, forcing him to bound off again, the pair of screws in his pocket.

Anne-Catherine makes eye contact with him from across the room, and he taps his hand to his heart, signaling that he’s ready for the finishing step and will not need to use her big purse. She heads off to the museum’s exit. The security guard has already appeared three times, and although both he and Anne-Catherine have stationed themselves in different spots at each check-in, Breitwieser is stressed. He’d once worked as a museum guard, soon after graduating from high school, and he understands that while almost no one will detect a detail as tiny as a missing or protruding screw, all decent guards focus on people. To remain in the same room for two consecutiv…