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Art & Crime


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About the Author

STEFAN KOLDEHOFF, born in 1967, is culture editor at Deutschlandfunk in Cologne, and writes for Die Zeit and art - Das Kunstmagazine among other publications. In 2008 he received the Puk journalist prize for his investigative research. In 2012, he and Tobias Timm published False Pictures, Real Money on the Beltracchi case. The book was awarded the Prix Annette Giacometti and the Otto Brenner Prize. Galiani also published his books The Pictures Are Among Us- The Nazi-Looted Art Business and the Gurlitt Case (2014) and Me and Van Gogh- Pictures, Collectors and Their Adventurous Stories (2015). TOBIAS TIMM, born in 1975 in Munich, studied urban ethnology, history, and cultural studies in Berlin and New York. He has written for Die Zeit's feature pages from Berlin on architecture, art, and crime. In 2012, he and Stefan Koldehoff published False Pictures, Real Money on the Beltracchi case. The book was awarded the Prix Annette Giacometti and the Otto Brenner Prize. TIMM and KOLDEHOFF were recently counted among the 100 most influential people in the art business by the national German magazine monopol.
PAUL DAVID YOUNG's previous translations from German include The Art of C.G. Jung (Norton, 2018) and, with Carl Weber, Heiner M ller- After Shakespeare (PAJ, 2014).Young's 2019 play All My Fathers, presented at La MaMa E.T.C. in New York, directedby Evan Yionoulis, was praised as "hilarious" by The New Yorker.


"In Art & Crime, German journalists Stefan Koldehoff and Tobias Timm detail the doings of a rogue’s gallery of art scammers, rascals and outright thieves. The action ranges from European watering holes to the New York townhouse of Imelda Marcos to the free port warehouses of Geneva and Singapore, where works of art, legally obtained and otherwise, can be discreetly traded."—The Washington Post

"The tales they tell in Art and Crime are hair-raising. Some are well known and go back decades; others are more recent and involve prominent international figures. "—Financial Times

"In this engrossing account, Koldehoff and Timm (False Pictures, Real Money) survey the link between art and crime, starting with the 1911 theft of the Mona Lisa from the Louvre and including such recent sensational cases as the 2017 theft of a 220-lb. Canadian gold coin from Berlin’s Bode Museum. The authors make the case that in today’s unregulated art world, many crimes are committed for laundering drug money or hiding stolen assets. (To this day, the FBI suspects the Mafia was behind the unsolved 1990 robbery of 13 works of art from the Isabella Stewart Gardner Museum in Boston.) While most readers know about the art stolen by the Nazis during WWII, it will be news to many that forgeries of Hitler’s own paintings, most of them fake according to one expert, remain a lucrative business. One chapter, “The Fakes President,” describes how President Trump siphoned funds from his charitable fund to buy art, including a portrait of himself. The authors also cover how, when Trump had the Bonwit Teller building demolished to build Trump Tower, he reneged on his promise to preserve the building’s Art Deco friezes and donate them to the Metropolitan Museum of Art—which was technically not a crime. Assured prose bolsters these fascinating tales. True crime fans and aficionados of culture will appreciate this dive into the dark side of the art world. (Dec.)"
—Publishers Weekly

"The theft of the Mona Lisa and Hitler's collection of looted art: both figure in this  tome byjournalists Stefan Koldehoff and Tobias Timm. The book mulls the art world's obsession with crime, stopping along the way to peel back the mystery surrounding a charitable fund from which Donald Trump allegedly diverted money in order to buy paintings."

"There are so many exciting stories in this book that read like any crime thriller by Agatha Christie."
—WDR 5

"An incredible book...It's as exciting to read as any thriller and is yet so carefully researched that none of it can be attributed to the imagination of Stefan Koldehoff and Tobias Timm" —Laura Helena Wurth, Der Freitag

“A clearly organised, sharply written and engaging addition to the genre of art-market crime compendiums.”
—Ben Lewis, The Art Newspaper

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