Isabella Stewart Gardner Museum Robbery
“Sure,” said the guard, reaching in his pocket as he came out from behind the desk.
“I think I’ve got an arrest warrant on you,” the man snapped. “Turn around! Both of you!”
In a flash both guards were spun around and flung roughly up against the wall. Before they knew what was happening, their hands had been manacled behind them.
“Don’t talk about us or you’ll be sorry,” they were warned.
Strips of plastic tape were wrapped around their eyes, ears, and mouths. They were hustled down a nearby flight of steps to the basement, taken to opposite ends of a long corridor, manacled to heating pipes, and left to lie on the concrete floor.
The museum now belonged to the thieves. Displaying a knowledge of museum security, they yanked around the video cameras that were taping them. Breaking open the locked security room, they destroyed videocassettes and switched off a central computer that continuously recorded any movements in the galleries, but they failed to destroy completely a part of the system that later revealed some of their activities within the museum.
Meanwhile, two or more of the gang raced to a second-floor gallery named the Dutch Room, which features the masterpieces of 17th-century Dutch painters. Removing Rembrandt’s Storm on the Sea of Galilee and A Lady and Gentleman in Black from the wall, they placed them on the floor and used chisels, screwdrivers, and sharp knives to cut the canvases from their large gilt frames.
The Concert, a much-esteemed painting by Jan Vermeer and The Obelisk by Goevert Flinck were also removed from their frames. Near the door, the thieves grabbed a Rembrandt etching, Portrait of the Artist as a Young Man, from a carved oak cabinet and snatched up an ancient bronze Chinese vase of the Shang Dynasty from about 1200 B.C. from a table. A fourth Rembrandt Self-Portrait was taken from the wall, but curiously was abandoned on the floor.
They then headed down a corridor to the front of the building, passed through a gallery filled with early Italian and Renaissance art, including works by Raphael, and went into the Short Gallery where they stripped five watercolors and drawings by the French painter Edgar Degas from hanging wooden panels designed by Isabella Stewart Gardner, but passed up a Michelangelo drawing and six lithographs by James McNeill Whistler. Climbing a marble-topped French Empire table, they unscrewed a bronze eagle that adorned a gold embroidered battle flag of one of Napoleon’s regiments.
In a first-floor gallery named the Blue Room, a thief seized a painting by the French painter Edouard Manet, Chez Tortoni, but ignored extremely valuable works by the American painter John Singer Sargent and the French painters of the 19th century — Delacroix, Corbet, and Corot.