The Rescue Artist (5 page)

Not so for art. A great painting shouts out its identity (not to sleepy customs agents, perhaps, but certainly to would-be buyers), and to disguise a masterpiece would quite likely be to destroy it. A painting’s identity, moreover, extends beyond the canvas. Every important painting trails behind it a written record, in effect a pedigree, that traces the history of its passage from one owner to the next. No legitimate buyer would believe for a moment that an undocumented work could be the real thing, any more than he would believe the tale of a fast-talking stranger who claimed to be the rightful king of France.

If thieves reasoned like ordinary people, these drawbacks would push them away from art. As the theft of
The Scream
and countless other paintings demonstrates, though, thieves carry on undaunted. Beyond the financial motive, the Art Squad has learned over the years, thieves steal art to show their peers how nervy they are, and to gain trophies they can flaunt, and to see their crimes splashed across the headlines, and to stick it to those in power. Thieves steal, too, because they use paintings as black-market currency for deals with their fellow crooks. For the police, it becomes a game of Follow the Bouncing Ball: a Picasso stolen from a weekend house in the Dordogne passes through the hands of a French gang, which sells it to one based in Amsterdam, which in turn sells it to drug dealers in Turkey, where it serves as a down payment for a shipment of heroin that ends up on the streets of London.

Especially when it comes to the most famous paintings, thieves’ motives often have as much to do with bragging rights as with anything tangible. Stealing an old master wins the thief kudos: he gains the envy and admiration of his set. The painting as a work of art is beside the point; crooks are seldom, if ever, art connoisseurs. A Rembrandt with a £5 million price tag is desirable because it is the ultimate trophy. In other circles, a man might achieve the same goal by buying a Rolls Royce or climbing Everest or shooting a lion and mounting its head on the wall.

The longer the odds, the greater the coup. In 1997, for instance, a thief in London strode into the posh Lefevre Gallery and asked if a particular portrait was by Picasso. Told that it was, he took out a shotgun, grabbed the painting, and hurried into a waiting taxi. The risk and the pizzazz were the point—an armed robbery, in midday, in midtown, with the ultimate brand-name as the prize. What ambitious young thief could resist the challenge?

Questions about why thieves do what they do grate on detectives’ nerves because they imply, as the detectives see it, that criminals are complex, misunderstood, intriguing figures. Why do thieves steal art? Detectives bark out a short answer, which is more a warning to back off than an explanation: “Because they do.” Why do bullies beat up weaklings? Why do gangsters shoot their rivals?

Come back to it again. Why do thieves steal masterpieces?

“Because they want to and they can.”

When
The Scream
disappeared, the Norwegian police asked themselves the usual questions about who might have done it. As the days went by, they added one more: Why haven’t we heard from the thieves?

From the start, the Norwegians had assumed that the thieves who had taken
The Scream
intended to hold it for ransom. “Artnapping,” after all, offers the advantages of kidnapping without all the fuss. No one needs to feed a stolen painting or keep it quiet or watch over it day and night; a painting cannot put up a fight or scream for help or testify in court. And if everything goes wrong and the police begin closing in, a painting can always be flung into a trashcan or tossed onto a bonfire.

But first days passed, and then weeks, and still the thieves kept silent.

Scotland Yard had begun mulling over the case as soon as the story broke, before it had any official role to play. The first challenge, the detectives on the Art Squad reckoned, would be to devise a way to lure the thieves out from hiding.

“What can we use as a plan?” John Butler asked Charley Hill.

“Give me a quarter of an hour, and I’ll think of something.”

It was a Monday morning in February 1994, a cold, bleak day. Butler was in London. Hill happened to be on assignment to Europol, the European counterpart of the international police organization Interpol. He was based in The Hague, Holland, in a dank slab of a building by a busy road and a frozen canal. In World War II, it had served as a regional Gestapo headquarters.

For a restless, moody man like Hill, life tethered to a desk was purgatory. On the other hand, few pleasures matched the thrill of dueling with a crew of cunning, malevolent thieves. Hill put down the phone and leaned back contentedly in his chair. He stretched his long legs, closed his eyes, and tried to put himself inside the mind of a crook who had snatched one of the most famous works of the twentieth century.

How to coax a thief like that into the open? Hill reviewed some of his undercover roles. Typically he played a shady American or Canadian businessman, a wheeler-dealer who traveled in expensive but flashy circles, an outgoing man who liked to talk and drink late into the night and who might reveal, as the hours slipped by, that he could snarl as well as smile.

The tone of these intimate performances—and the audience—varied from job to job. One week, Hill might find himself playing a swindler looking to buy counterfeit bills, and the next, he might be passing himself off as a crooked collector in the market for a stolen painting. As a swindler, Hill would likely curse and carry on. Playing a connoisseur, he would turn down the bluster and threats and instead conjure up a bit of what he calls “art chat.” A soliloquy on Turner’s use of light and shade might do nicely.

Perhaps Hill’s allotted quarter-hour had gone by, but not by much. He smiled to himself and picked up the phone to tell Butler his plan.

6
The Rescue Artist

C
harley Hill is a tall, round-faced man with curly brown hair and thick glasses. He is half-English and half-American, and his biography sounds as if a careless clerk had stapled together pages from several different résumés. Born in England but raised mostly in the United States (with a couple of stints in Germany thrown in), Hill is an ex-soldier and ex-Fulbright scholar who flirted with academia, and then the church, and eventually landed a job as a cop walking a beat in some of London’s diciest neighborhoods.

A stranger seeing Hill on the street might take him for an academic (though one less rumpled than most) or a businessman whose daydreams turned on balance sheets and bottom lines. A closer look would spur second thoughts. Hill swaggers when he walks, as if the sidewalk were his private property. He can be charming and engaging—especially if the conversation has turned to one of his pet topics, like naval history—but he is restless and impatient, with a bad temper that flashes unpredictably. A sudden glare or a slammed telephone serve as hints that perhaps this would not be a good man to cross.

His speech tends toward the formal, but the scholar and the cop often collide head-on in his conversation. A sentence that begins with Charley quoting Edmund Burke on liberty may well end up with a reference to some “lying sack of shit.”

Hill’s accent, too, is an odd mix. To Americans, he sounds almost, but not quite, familiar—Canadian, perhaps, or Australian? The English find him similarly hard to place.
Is
he English? Perhaps there’s a bit of Ireland in his speech?

In time, Hill came to specialize in undercover work. At home in all the worlds he had passed through in his zigzag life—or in none of them—he found he could effortlessly win the confidence of a gang of thugs drinking in a dive or a party of art lovers strolling through a gallery. Unlike a character actor, who fits in so well with his surroundings that he can scarcely be recalled later, Hill does not disappear into his roles. He prefers, instead, to pose as an exotic stranger, an outsider but one worth doing business with.

In the small world of art crooks and art cops, Hill stands nearly alone. On both sides of the law, the prudent strategy is to focus on art below the highest rank. From a thief’s point of view, the best paintings to steal are ones good enough to command high prices but not so stellar that they shout trouble; from an investigator’s vantage point, where the focus is on closing cases, stolen paintings are worth chasing only if the odds of success are high. A long shot, even if it might yield the painting of a lifetime, is too risky. Quantity trumps quality. “We fish with nets,” explains the head of a private firm in the art recovery business. “For us, it’s an industrial process. Charley Hill is like a man fishing with a rod. He’s looking for the biggest fish.”

More often than anyone else, he’s landed them. Vermeer, Goya, and Titian are among the prizes. In twenty years Hill has recovered masterpieces worth well over $100 million.

Families have their own cultures, just as countries do. In Charley Hill’s family—his father an American soldier, his mother an embodiment of glamour and English elegance—the favorite stories all sounded the same notes: war, heroes, romance, tragedy. Charley Hill drank deep from those heady waters. The catch is that he came to believe fervently in two utterly opposed ideas. On the one hand, Hill is a true-blue believer in heroes and villains and fighting for the good cause, no matter how hopeless the odds. He is, simultaneously, a deep-dyed cynic and skeptic who believes in his bones that the race is not to the swift but to the con man who paid off the official timer.

In many ways, Hill is the world’s oldest Boy Scout. He would be
thrilled
to find a little old lady who needed help crossing the street. If he is walking in a park, he picks up discarded bags of potato chips and chucked-out beer cans, to throw away later. When any of his friends flies in to Heathrow, Hill will be waiting eagerly to greet them, no matter how ghastly the hour and how miserable the traffic he has fought through. He will be near the front of the crowd with a big grin plastered on his face and a bottle of water in his hands, in case the flight has left the new arrival a bit dry.

It is perfectly possible, though, that come two o’clock the next morning, the same pampered friends will find themselves careening down the highway in Hill’s car at 100 miles an hour. Hill will be at the wheel, ignoring his friends’ pleas to slow down. If they grow truly frightened, so much the better.

Such abrupt shifts are all the more striking because no one places a higher value on friendship than Hill. Photos of old pals hold places of honor on his refrigerator at home; he phones and visits and frets about chums from as far back as grade school. On the not-so-rare occasions when a college-age child of American friends washes up forlorn and homesick in London, Hill drops everything to swoop to the rescue. He doesn’t go in for long, soulful conversations—it is impossible to picture the words “Tell me all about it” passing his lips—but he has a knack for cobbling together outings and adventures that vaporize gloom and melancholy by their sheer intensity.

A drawing that depicted Hill’s talents would reveal a strange and uneven landscape, with silvery skyscrapers next to vacant lots and abandoned warehouses. Though he is a gifted mimic, for example, he is hopeless at languages. His greatest asset is a daunting, and dauntingly haphazard, memory. Nearly anything can trigger a cascade of recollections, most likely with names and dates and a word-for-word quotation or two.

Hill does not drone on, like some cocktail party bore. On the contrary, the mark of his conversation is that he dips in and out as the mood strikes him. Few others see the connections he does. Someone’s remark about present-day politics might move Hill to comment on George Washington’s record in the French and Indian Wars. An allusion to the latest celebrity trial might spur a recitation of a bit of doggerel on Oscar Wilde’s arrest (“Mr. Woilde, we’ve come for tew take yew /Where felons and criminals dwell /We must ask yew tew leave with us quietly /For this is the Cadogan Hotel”).

Hill’s aversions are as fervent as his obsessions. Order and precision are off-putting, history and art and geography enticing. Logic is a strait-jacket, and numbers are the friends of his sworn enemies, the bureaucrats. Hill is as unlikely to use a word like “percentage” or “average” as a minister would be to curse at the dinner table.

Even the numbers that his fellow detectives use to gauge the scale of art crime rouse his wrath. “It’s all bullshit,” he complains. “People talk about these incredible figures, but all the figures you see are completely made up. Police statistics do not distinguish between something of artistic quality and a sodding ornament somebody won shooting in a fairground.”

Hill can shut down without warning. One moment he might be happily rattling on about his hero Sir John Hawkwood, the English mercenary who fought in Italy in the 1300s and managed to get his portrait painted (posthumously) by Uccello. Then, suddenly, he will switch off. If he is driving, he will interrupt himself in midstream, grab the wheel in a stranglehold, and carry on in a silence broken only by the whine of the engine and a few snarled remarks about the prats who are blocking his way. If he is with friends at dinner, he will withdraw from the conversation, yawn mightily—it might be only nine o’clock at night—announce that he is knackered, and head home to bed.

When he is in a good mood, Hill’s natural bent is exuberantly over the top. Not content with remarking that one of his acquaintances has more admirers than another, for example, he delights in fashioning an elaborate comparison: “When Frank dies he’ll have a burning longboat pushed out to sea with his body on it and salutes from the warriors standing along the headland, with weeping women and children alongside them. But poor George will be interred and his body will eventually yield one loud fart in his cold coffin that no one will hear.”

In less boisterous moods, he favors a kind of wry understatement. Many of his fellow soldiers, Hill recalls, had taken “a career opportunity offered by the judiciary,” by which he means that a judge had given them a choice of the army or prison.

His boyishness is unmistakable. Thunder is good, lightning is better, a jaunt to town is much improved if some reason can be found to run after a moving bus and jump aboard the platform. A dusting of an inch of snow is more than enough excuse to bundle up in coat and scarf and gloves and boots, as if for an assault on Antarctica, and then to set out across the wilds of Kew Gardens.

Even a make-believe adventure like a dash into the snow is better than no adventure at all, but Hill is no Walter Mitty. His work routinely involves dealing with “vindictive, cunning, violent thieves,” and the danger is not a cost but a bonus. “I think the real reason Charley volunteered for Vietnam,” remarks one friend who has known him since they were both teenagers, “is that he finally figured out that nobody gets killed playing football.”

If Prince Valiant and Raymond Chandler’s Philip Marlowe shared custody of a single body, the amalgam might resemble Charley Hill.

Hill’s father was a farmboy from the American Southwest, his mother a high-spirited Englishwoman who trained as a ballerina but then joined Bluebell Kelly’s troupe of high-kicking dancers. (In an old Gene Kelly movie called
Les Girls
, the Kay Kendall character was based on Hill’s mother.) Hill’s parents met during World War II, and few couples could have had less in common. Landon Hill grew up in hardscrabble Oklahoma and made it out to the wider world by way of Oklahoma A&M and the military; Zita Widdrington, daughter of the Reverend Canon Percy Elborough Tinling Widdrington, was raised near Cambridge, in the kind of setting that Americans picture when they dream of England. This part of East Anglia is thatched roofs and timber-framed houses and cheery pubs and a medieval church with a spire that soars 180 feet into the sky. The village names are out of
Harry Potter:
Little Dunmow, Great Dunmow, Thaxted, Tilty.

Zita grew up in a great, sprawling house that overflowed with visitors. (Her husband-to-be was one of them, a young Army Air Force officer whom she first saw playing chess with her father.) P. E. T. Widdrington was a rector in the Church of England and a Fabian socialist, “a showman and a show-off,” in his daughter’s words. G. K. Chesterton was a frequent visitor, George Bernard Shaw an occasional houseguest and the cause of much giggling among the children because of his scraggly beard and his preference for sleeping on the floor rather than in a bed.

It was a charmed and glittery life. One day at H. G. Wells’s house, when she was six, Zita was told to prepare for a special treat.

“Zita, I’d like you to meet Charlie Chaplin.”

A small, nondescript man drew near. Zita burst into fits of weeping. “He’s
not
Charlie Chaplin.” The stranger retreated. And then, a few minutes later, this time wearing a bowler hat and twirling a cane, around the corner came the great man himself.

Even today, at eighty-seven, Zita retains the manner of a precocious child blurting out naughty and “forbidden” remarks, secure in the knowledge that she is too adorable to be rebuked. She is a formidable storyteller who basks in the spotlight. She tells of swimming in the Mediterranean sixty years ago with Didi Dumas, a handsome young Frenchman who was testing an underwater breathing device that he was working on with another young man, named Cousteau. She tells war stories—about her arrest (on trumped-up charges) for running guns to Greece, the jail cell she was thrown in, her escape on foot across France. She tells of a beau’s death in the war in a plane crash (this was before Charley’s father), “the great tragedy of my life.”

Charley Hill was raised on such gripping and harrowing tales, though his own childhood was more prosaic. His father, Landon Hill, was an Air Force officer who later switched over to the National Security Agency. Zita spent her married life dragging her family from one dreary assignment to another. “Dayton, Ohio,” she sighs theatrically. “Oh, it was absolutely dreadful.”

Charley, perpetually the new kid in town, attended perhaps a dozen schools in all, in Texas and London and Colorado and Frankfurt, Germany, and Washington, D.C. (Decades later, he still recalls the name of the bully who beat him up when he showed up in San Antonio, age seven, fresh from England, chirping away in a funny accent and decked out in wool hat, long socks, and short pants.) Growing up became one long exercise in sizing up new acquaintances and learning how to fit in with the locals.

Charley is proud of his mismatched ancestry, “log cabin on one side and knight of the realm on the other.” He prizes a collection of ancient family photos that show his American forebears standing proudly in front of a rude cabin in Oklahoma’s Indian Territory. Better yet, in Hill’s eyes, a great-great-grandmother on his father’s side was a full-blooded Cherokee, so he can claim
both
cowboy and Indian ancestors. The connection always sets Hill to computing just what fraction Indian he is himself, but he is deeply non-numeric and the answer never comes out the same way twice in a row.