The black-and-white moralist has landed in a world of grays, but Hill lives with that contradiction as happily as with all the others. Far from waiting for a go-ahead signal from the police, he has his eye fixed, at any one time, on half a dozen major cases. At Christmas 2003, for example, he was looking for Jean-Baptiste Oudry's White Duck White Duck, stolen from Lord Cholmondeley and worth 5 million, and Leonardo's Madonna of the Yarn-winder Madonna of the Yarn-winder, worth perhaps 50 million, and Cellini's gold and ebony saltcellar, worth $57 million, and a variety of treasures in Belgrade and Sicily.

Always lurking in the background-often shoving its way into the foreground-are the $300 million worth of paintings stolen from the Gardner Museum. Hill has pondered the theft since the news broke, on March 18, 1990. He believes he knows who took the paintings, and why, and what they did with them. Most important, he believes Vermeer's Concert Concert, Rembrandt's Storm on the Sea of Galilee Storm on the Sea of Galilee, Manet's Chez Tortoni Chez Tortoni, and the others, are still intact and unhurt.

In search of the Gardner paintings, Hill has spent endless hours cultivating contacts and chasing leads and pursuing men who very much do not want to be pursued. He is up against formidable compet.i.tion; the advertised reward for finding the Gardner paintings (put up by Sotheby's, Christie's, and Chubb Insurance) is $5 million.

The FBI is by far the most prominent player in the hunt. The bureau has already followed up 2,000 leads in the Gardner case, it says, and has sent agents to j.a.pan, South America, Mexico, and Europe. To no avail. At the ten-year mark, the FBI supervisor in charge of the case acknowledged that "we haven't got a clue." Today, another three years on, the picture is just as grim. "All logical leads have been followed through to conclusion," the FBI admits, through clenched teeth, "with no positive investigative results."

For a proud loner like Hill, no triumph could be sweeter than outwitting scores of rule-following, memo-writing FBI agents, all dutifully following "logical leads." In the end, it may not happen. Hill's efforts could all end in fiasco. It's happened before.

But, then again, it might work. Hill has thought it through a thousand times. First a proper drink and a long, private look at the pictures. Then it will be a matter of picking up the phone and calling the director of the Gardner.

"It's Charley Hill," he'll say. The tone will be light, casual, all in a day's work. "I believe I've found some things you've been missing."

AFTERWORD.

SEPTEMBER, 2004.

A month after I'd sent the ma.n.u.script of this book to my publisher, I sat in a Manhattan taxi stuck in traffic. It was a Sunday afternoon in August, and an idyllic day if not for the blaring of horns and the dentist-drill whine of the music on the taxi radio. "It's 2:00. This hour's top story. In Norway, thieves have stolen one of the world's best-known paintings, month after I'd sent the ma.n.u.script of this book to my publisher, I sat in a Manhattan taxi stuck in traffic. It was a Sunday afternoon in August, and an idyllic day if not for the blaring of horns and the dentist-drill whine of the music on the taxi radio. "It's 2:00. This hour's top story. In Norway, thieves have stolen one of the world's best-known paintings, The Scream The Scream. Experts say the painting could be worth as much as $100 million. Police say they have no suspects."

I sat back stunned, but I should have known better. The story hadn't ended when I turned in my ma.n.u.script. Art and art thieves aren't history; they're headlines.

"Count no man happy before he dies," the ancient Greeks said, by which they meant that even the most successful life can fall apart in a moment. The same insight holds for great paintings. When it comes to stolen art, no case is ever truly closed.

On Sunday morning, August 22, 2004, the Munch Museum in Oslo was crowded with visitors. August is tourist season, and the museum had been bustling since it opened at 10 A.M A.M. The collection is devoted entirely to Munch; when the painter died, in 1944 at age 80, he willed his art to the city of Oslo. The museum, nowhere near as large or as imposing as the nearby National Gallery, seems almost to invite its patrons into Munch's cluttered studio. Many visitors pause at Munch's austere single bed and its frayed blanket, on exhibit along with the paintings, drawings, and prints.

Sooner or later, and in most cases sooner, everyone who enters the Munch Museum ends up standing before The Scream The Scream. This is not the same painting that Charley Hill recovered in 1994, but an equally valuable near-twin. Munch painted four versions of The Scream The Scream in all-he returned obsessively to the themes that haunted him-and the two at Norway's National Gallery and the Munch Museum are the ones familiar around the world. in all-he returned obsessively to the themes that haunted him-and the two at Norway's National Gallery and the Munch Museum are the ones familiar around the world.

At 11:10 on that Sunday morning, two armed men in black ski masks and gloves burst into the museum. One burglar pointed his pistol at the head of an unarmed guard and shouted, in Norwegian, for the guard and the terrified tourists to "Lie down!" In the meantime, his partner strode over to Munch's Madonna Madonna, a famous and hugely valuable work in its own right, pulled out a pair of wire cutters, and cut it from the wall. "It looked like he was crazy," one eyewitness reported. "He was banging it against the wall. Then he got it off the wall, and he was banging it on the floor." Then he grabbed The Scream The Scream.

The two thieves ran outside, each clasping a priceless painting. As they neared the getaway car, a black Audi station wagon, a third man threw open its back door. The thieves flung the masterpieces inside, and the three men sped off.

The nearest police station is only half a mile from the museum, and when the thieves cut the paintings from the wall they triggered an alarm connected to the station. The police arrived within minutes. Still, it was too late.

By one o'clock in the afternoon, police had found the getaway car, abandoned, and battered bits of the paintings' frames. In the case of The Scream The Scream especially, this further evidence of rough handling was bad news. Munch painted his especially, this further evidence of rough handling was bad news. Munch painted his Madonna Madonna, an eerie, erotic depiction of a bare-breasted, black-haired woman, in oil on canvas, which makes it relatively robust; but the newly stolen Scream Scream, like the version stolen in 1994, is painted on a piece of cardboard, so it could easily be bent or creased.

On the day after the theft, the director of the Munch Museum held an anguished press conference to plead with the thieves. "Whatever they do," said Gunnar Sorensen, speaking from a position in front of the blank spot on the wall where The Scream The Scream had hung, "they should take care of the pictures as well as they can." had hung, "they should take care of the pictures as well as they can."

That was apparently more than the Munch Museum itself had done. According to indignant accounts in the Norwegian press, four months before the theft the museum had withdrawn from the Norwegian Industry's Security Board. The board, under the auspices of Norway's Justice Department, advises its members on issues of crime and security. Its membership includes Norway's most prominent inst.i.tutions, including banks, oil companies, the Museum for Contemporary Art, and the National Gallery. A month before it withdrew from the Security Board, the Munch Museum had been given KR500,000, roughly $70,000, to beef up security. It had not spent the money.

Like the National Gallery's Scream Scream, the Munch Museum's stolen paintings were not insured for theft. "They are irreplaceable works of art," said the head of the agency that insures a.s.sets belonging to the city of Oslo, "and it makes no sense to insure them against theft."

That is debatable; at the least, an insurance company faced with the possibility of a $50 million or $100 million payout might strive mightily to turn up the heat on the crooks. As it is, the police have found themselves chasing down random leads and praying the thieves will contact them. The obvious suspect, Pal Enger, who had been convicted twice before of stealing paintings by Munch, proclaimed his innocence. "Weapons are not my style," Enger maintained. "I have always used the methods of a gentleman."

Frustrated and forlorn, the authorities scarcely try to hide their floundering. "We're working with the tips we've got from the public," one police official told an interviewer two weeks after the theft. "So far we haven't tied ourselves to any main theory."

Charley Hill, whose boiling point is barely above room temperature, rages whenever he contemplates these latest examples of official inept.i.tude. Even stolid Leif Lier, the Norwegian detective who worked with Hill in 1994, cannot hide his indignation. "Hasn't the city of Oslo learned anything about security in ten years?" he demands. "I am shocked that once again it was so easy."

In the best of scenarios, the thieves will realize they cannot sell their paintings and will drop them somewhere where they will be quickly found. Failing that, the robbers may surface with ransom demands. Or, since The Scream The Scream and and Madonna Madonna will surely retain their value for many decades to come, perhaps the silence will drag on. In the case of the Gardner Museum paintings, for example, the silence now spans fourteen years. will surely retain their value for many decades to come, perhaps the silence will drag on. In the case of the Gardner Museum paintings, for example, the silence now spans fourteen years.

An impa.s.se like that is unlikely. Thieves do not steal paintings in order to stash them in a warehouse. But schemes fall apart and deals dissolve. Yesterday's trophy can become today's white elephant. Sometimes a seeming lack of activity means not that a painting has been destroyed or stored away but that it has become a trade item in the criminal underworld, like Metsu's Woman Reading a Letter Woman Reading a Letter, stolen in Dublin in 1986 and recovered in Istanbul in 1990 in the hands of a thief trying to barter it for a shipment of heroin.

In the short run, the case is in the Norwegians' hands. In all art robberies, the local police have first crack at sorting things out. But if months go by without progress and all the obvious leads unravel, Charley Hill's phone will ring again.

In the meantime, when two weeks had gone by without a word about the whereabouts of its two most valuable paintings, officials from the Munch Museum contacted the press. "We are closed and will be closed for three weeks," museum officials announced, "to install alarms, among other things."

NOTES.

This is a work of nonfiction. If readers find themselves eavesdropping on someone's thoughts-"It's perfect," Hill thought. "I'll be the Man from the Getty"-or privy to an interior monologue-These guys couldn't couldn't be trying to hide-the material came from an interview. be trying to hide-the material came from an interview.

The great bulk of The Scream The Scream narrative comes from my interviews with the princ.i.p.al players, notably Charley Hill. In addition, I am grateful to the producers of a BBC-4 TV doc.u.mentary called narrative comes from my interviews with the princ.i.p.al players, notably Charley Hill. In addition, I am grateful to the producers of a BBC-4 TV doc.u.mentary called The Scream The Scream for providing me the unedited transcripts of their interviews. I also made use of a memoir by Jens Kristian Thune, who was chairman of the board of Norway's National Gallery when for providing me the unedited transcripts of their interviews. I also made use of a memoir by Jens Kristian Thune, who was chairman of the board of Norway's National Gallery when The Scream The Scream was stolen. I am grateful to Eileen Fredriksen for translating Thune's account, was stolen. I am grateful to Eileen Fredriksen for translating Thune's account, Med et skrik Med et skrik, into English.

Since this book is in great part an oral history, I have chosen to keep the notes compact. In particular, readers seeking further details of the various thefts mentioned in pa.s.sing would do well to begin by consulting the extensive archives at http://www.museum-security.org.

Chapter 1: Break-in.

The account of The Scream The Scream theft in Chapters 1 to 5 is based on interviews with Charley Hill, d.i.c.k Ellis, Leif Lier, and Ludvig Nessa; Thune's book; news reports (particularly those in the Norwegian newspaper theft in Chapters 1 to 5 is based on interviews with Charley Hill, d.i.c.k Ellis, Leif Lier, and Ludvig Nessa; Thune's book; news reports (particularly those in the Norwegian newspaper Dagbladet); Dagbladet); the BBC-4 doc.u.mentary cited above; and a second BBC doc.u.mentary on the BBC-4 doc.u.mentary cited above; and a second BBC doc.u.mentary on The Scream The Scream case, ent.i.tled "The Theft of the Century," produced by Keith Alexander in 1996. case, ent.i.tled "The Theft of the Century," produced by Keith Alexander in 1996.

The minister of culture who found it "hard to imagine that such evil things" as the theft of The Scream The Scream could take place was Asa Kleveland. She was interviewed in "The Theft of the Century." could take place was Asa Kleveland. She was interviewed in "The Theft of the Century."

Chapter 2: Easy Pickings Easy Pickings.

The figures on stolen art in the Museum of the Missing come from the database of the Art Loss Register and were current as of May 2003.

Steven Keller remarked that many museum guards "couldn't get jobs flipping burgers." See "Busted," Art & Auction Art & Auction, March 2004.

The Louvre's security shortcomings were detailed in a report by the French national audit office, the Cour des Comptes, in February 2002.

Chapter 6: The Rescue Artist The Rescue Artist.

Jon Dooley, CEO of Invaluable Ltd., likened Charley Hill to "a man fishing with a rod." Dooley was quoted in an article headlined "Lost and Found" in the Financial Times Financial Times, September 27, 2002.

Charley Hill's remark that statistics on art crime are "completely made up" appeared in Anthony Haden-Guest's "Catch Me If You Can," Art Review Art Review, March 2003.

Michael Kelly was quoted in an article by Robert Vare. See "True to His Words," Atlantic Atlantic, April 2004.

Chapter 7: Screenwriters Screenwriters.

The best account of the frenzy in the art world in the late 1980s is Cynthia Saltzman's Portrait of Dr. Gachet: The Story of a Van Gogh Masterpiece, Money, Politics, Collectors, Greed, and Loss Portrait of Dr. Gachet: The Story of a Van Gogh Masterpiece, Money, Politics, Collectors, Greed, and Loss (New York: Viking Penguin, 1998). (New York: Viking Penguin, 1998).

Chapter 9: The General The General.

The indispensable work on Cahill and the basis for all later accounts of his career, including this one, is Paul Williams's The General The General (Dublin: O'Brien Press, 1995). Cahill's career was dramatized in a film also called (Dublin: O'Brien Press, 1995). Cahill's career was dramatized in a film also called The General The General, directed by John Boorman.

James Donovan told of surviving a car bomb in the London Sunday Mirror Sunday Mirror, August 8, 1999.

In his book Jan Vermeer Jan Vermeer (New York: Barnes and n.o.ble, 1962), Lawrence Gowing remarked that "everything of Vermeer is in the Beit (New York: Barnes and n.o.ble, 1962), Lawrence Gowing remarked that "everything of Vermeer is in the Beit Letter. " Letter. "

The information about Vermeer's widow selling Lady Writing a Letter Lady Writing a Letter to settle a debt with her baker-and the information that the debt, 617 florins, corresponded to roughly $80-was provided by the research staff at the National Gallery of Ireland. to settle a debt with her baker-and the information that the debt, 617 florins, corresponded to roughly $80-was provided by the research staff at the National Gallery of Ireland.

The brief sketch of Vermeer's life is based on Anthony Bailey's Vermeer Vermeer (New York: Henry Holt, 2001) and Norbert Schneider's (New York: Henry Holt, 2001) and Norbert Schneider's Vermeer: The Complete Paintings Vermeer: The Complete Paintings (Cologne: Taschen, 2000). Robert Hughes noted that Vermeer left no written accounts of his life or his art; see "Shadows and Light," (Cologne: Taschen, 2000). Robert Hughes noted that Vermeer left no written accounts of his life or his art; see "Shadows and Light," Time Time, May 7, 2001. Bailey discussed the ident.i.ty of Vermeer's models on pp. 115-116.

Paul Johnson remarked on Vermeer's long fall from favor; see Art: A New History Art: A New History (New York: HarperCollins, 2003, p. 379). (New York: HarperCollins, 2003, p. 379).

Th.o.r.e paid 500 francs, roughly $2,000 in today's money, for Young Woman Standing at a Virginal Young Woman Standing at a Virginal. He paid roughly $16,000 in today's dollars for Woman with a Pearl Necklace Woman with a Pearl Necklace and roughly $8,000 for and roughly $8,000 for Young Woman Seated at a Virginal Young Woman Seated at a Virginal. See Frances Suzman Jowell, "Vermeer and Th.o.r.e-Burger: Recoveries of Reputation" in Gaskell and Jonker, eds., Studies in the History of Art Studies in the History of Art, vol. 55 (Washington: National Gallery of Art, 1998, pp. 35-58). The conversions from nineteenth-century prices to present-day dollars were provided by the Musee de la Monnaie de Paris.

Laura c.u.mming made the point that, in the days before museums and ma.s.s reproductions, artists might disappear from view; see her fine essay, "Only Here for the Vermeer," in the Observer Observer, May 27, 2001.

Sir Alfred Beit's remark that "no amount of money" could compensate him for the loss of his paintings appeared in the New York Times New York Times on May 1, 1974, in an article headlined "Insurance Was Low on 19 Works of Art Stolen in Ireland." on May 1, 1974, in an article headlined "Insurance Was Low on 19 Works of Art Stolen in Ireland."

Paul Williams discussed Martin Cahill's belief that he could sell stolen paintings to unscrupulous art collectors for "millions, countless millions" on a British television doc.u.mentary called "The Fine Art of Crime" (Fulcrum Productions, 1998).

Chapter 11: Encounter in Antwerp Encounter in Antwerp.

Rebecca West called the once-fashionable novelist Michael Arlen "every other inch a gentleman," according to Victoria Glendinning's biography of West. (The comment is sometimes attributed to Alexander Woollcott.)

Chapter 12: Munch Munch.

My account of Munch's life and The Scream The Scream is based on J. P. Hodin's is based on J. P. Hodin's Edvard Munch Edvard Munch (London: Thames & Hudson, 1972), Poul Erik Tjner's (London: Thames & Hudson, 1972), Poul Erik Tjner's Munch in His Own Words Munch in His Own Words (New York: Prestel, 2003), Reinhold h.e.l.ler's (New York: Prestel, 2003), Reinhold h.e.l.ler's The Scream The Scream (New York: Viking, 1973), Mara-Helen Wood's (New York: Viking, 1973), Mara-Helen Wood's Edvard Munch: The Frieze of Life Edvard Munch: The Frieze of Life (London: National Gallery Publications, 1992), Monica Bohm-d.u.c.h.en's (London: National Gallery Publications, 1992), Monica Bohm-d.u.c.h.en's The Private Life of a Masterpiece The Private Life of a Masterpiece (Berkeley: University of California Press, 2001), and Stanley Steinberg and Joseph Weiss's "The Art of Edvard Munch and Its Function in his Mental Life," (Berkeley: University of California Press, 2001), and Stanley Steinberg and Joseph Weiss's "The Art of Edvard Munch and Its Function in his Mental Life," Psychoa.n.a.lytic Quarterly Psychoa.n.a.lytic Quarterly, vol. 23, no. 3, 1954. The psychoa.n.a.lytic speculation in Steinberg and Weiss is far-fetched ("the swirling red landscape may represent Munch's dying mother"), but the compilation of biographical facts is useful.

My remark comparing Freud and Munch is a variant on an observation by Christopher Hume, who called Munch "the great liberator of the tormented Self" and wrote that "if Freud was its cartographer, Munch was the ill.u.s.trator." See "Munch Kitsch Makes a Fearful Image Safe," Toronto Star Toronto Star, March 1, 1997.

Simon Winchester's superb Krakatoa Krakatoa (New York: HarperCollins, 2003) is by far the best account of the volcano's eruption and its ramifications (including the story of the Pough-keepsie firemen, as well as countless others). The link with (New York: HarperCollins, 2003) is by far the best account of the volcano's eruption and its ramifications (including the story of the Pough-keepsie firemen, as well as countless others). The link with The Scream The Scream is perhaps the only Krakatoa connection that eluded Winchester. is perhaps the only Krakatoa connection that eluded Winchester.

Chapter 17: Russborough House Redux Russborough House Redux.

The best account of Rose Dugdale's career, and the theft of the Kenwood Vermeer in particular, was written by Luke Jennings. See "Every Picture Tells a Story," London Evening Standard London Evening Standard, December 28, 1999.

Chapter 18: Money Is Honey Money Is Honey.

Peter Wilson's remark on ethics and auctions appeared in Robert Lacey, Sotheby's: Bidding for Cla.s.s Sotheby's: Bidding for Cla.s.s (Boston: Little, Brown, 1998, p. 183). (Boston: Little, Brown, 1998, p. 183).

The observation that the prices of art in the past do not match today's prices and the Robert Hughes quotation beginning "one bought paintings for pleasure" come from a fascinating, two-part article by Robert Hughes. See "Art and Money," New Art Examiner New Art Examiner, October 1984 and November 1984.