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Home image/svg+xml 2021 Timothée Giet AL Clippings image/svg+xml 2021 Timothée Giet Bungling Burglars Sentenced for Durham University’s Oriental Museum Theft
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Bungling Burglars Sentenced for Durham University’s Oriental Museum Theft

February 16, 2013

Two men cut their way into the Durham University Oriental Museum the night of April 4th, 2012.  Labelled by the British press as a “crack team,” they ran off with a Qing Dynasty porcelain sculpture and an 18th century carved jade bowl, together valued at over £2 million ($3 million).

The thieves spent 40 minutes creating a two by three foot hole in the museum’s brick wall, but only one minute inside the museum gathering the items.

The two objects were recovered eight days after the theft in a field outside Durham. They were undamaged and required only minor cleaning.

After a one year manhunt, which included features on BBC’s Crimewatch, Lee Wildman and Adrian Stanton were captured.  Both plead guilty for the burglary.  Wildman was sentenced to nine years and Stanton eight years.  In statements given to the police, both men claim that they were only a small part of the plan and were recruited to steal the objects.

According to Judge Christopher: “This is not an offense that can be described as sophisticated.  Although the burglary was carried out according to a specific plan, there were elements near the end of it reduced the plan to complete farce.”

.

Farce is an appropriate description, to say the least.

Wildman and Stanton’s plan had two major flaws.  First, they were seen at the museum one week before the theft shaking a display case, trying locks and carrying a crowbar.

And two, they lost their “loot” in a field.  Most likely out of panic, the stolen objects were buried.  Two weeks following the theft Wildman was seen searching the field frantically and yelling.  Judge Prince said during the sentencing of the two men: “Lawyers with many years experience have not seen a case where thieves have hidden property where they just could not find it afterwards, let alone property of this cultural importance and enormous value.”

The two men are most definately not the suave and sophisticated art thieves of movies and television.  As we discussed in our coverage of the recovery of a Matisse, art theft is not a glamorous crime.

Sources: “Gone in 60 Seconds: £2 m Chinese Takeaway of Museum Treasures,” Mirror, April 11, 2012; Neil McKay, “Durham University Oriental Museum Burglars Jailed,” The Journal, February 9, 2013; “Men Jailed After Chinese Museum Thefts,” ITV, February 8, 2013.

Disclaimer: This article is for educational purposes only and is not meant to provide legal advice. Readers should not construe or rely on any comment or statement in this article as legal advice. For legal advice, readers should seek a consultation with an attorney.

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Previous False Friends: Parisot Accused of False Authentications of Modigliani
Next Matisse’s “Odalisque in Red Pants” Recovered by FBI and Returning Home to Venezuela

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Paul Cassier (1871-1926 was an influential Jewish Paul Cassier (1871-1926 was an influential Jewish art dealer. He owned and ran an art gallery called Kunstsalon Paul Cassirer along with his cousin. He is known for his role in promoting the work of impressionists and modernists like van Gogh and Cézanne. 

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No strike designations for cultural heritage are o No strike designations for cultural heritage are one mechanism by which countries seek to uphold the requirements of the 1954 Hague Convention. As such, they are designed to be key instruments in protecting the listed sites from war crimes. Yet not all countries maintain such inventories of their own whether due to a lack of resources, political views about what should be represented, or the risk of misuse and abuse. This often places the onus on other governments to create lists about cultures other than their own during conflicts. Thus, there may be different lists compiled by different governments in a conflict, creating an unclear legal landscape for determining potential war crimes and raising significant questions about the effectiveness of no strikes as a protection mechanism. 

This presentation discusses current research seeking to empirically evaluate the effectiveness of no strike designations as a protection mechanism against war crimes in Syria. Using data on cultural heritage attacks from the height of the Syrian Conflict (2014-2017) compiled from open sources, a no strike list completed in approximately 2012, and measures of underlying risk, this research asks whether the designations served as a protective factor or a risk factor for a given site and the surrounding area. Results and implications for holding countries accountable for war crimes against cultural heritage are discussed. 

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Let there be light! Center for Art Law is pleased Let there be light! Center for Art Law is pleased to share with you a work of art by Sofia Tomilenko, an illustration artist from Kyiv, Ukraine. This is Sofia's second creation for us and as her Lady Liberty plays tourist in NYC, we wish all of you peace and joy in 2026! 

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This summer, art dealer James White and appraiser This summer, art dealer James White and appraiser Paul Bremner pleaded guilty for their participation in the third forgery ring of Norval Morisseau works uncovered by Canadian authorities. Their convictions are a key juncture in Canda's largest art fraud scheme, a scandal that has spanned decades and illuminated deep systemic failures within the art market to protect against fraud. 

Both White and Bremner were part of what is referred to as the 'Cowan Group,' spearheaded by art dealer Jeffrey Cowan. Their enterprise relied on Cowan fabricating provenance for the forged works, which he claimed were difficult to authenticate. 

In June, White, 87, pleaded guilty to to creating forged documents and possessing property obtained by crime for the purpose of trafficking. Later, in July, Paul Bremner pleaded guilty to producing and using forged documents and possessing property obtained through crime with the intent of trafficking. While Bremner, White, and Cowan were all supposed to face trial in the Fall, Cowan was the only one to do so and was ultimately found guilty on four counts of fraud. 

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In our new article, Sarah Boxer explores parallels between the techniques used by the Louvre heists’ perpetrators and past major art heists, identifying how the theft reveals widespread institutional vulnerability to art crime. 

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