Wednesday, September 9, 2026

We Could Have Taken More

 


Louvre Heist Suspects: ‘We Could Have Taken More’

New claims from two alleged suspects in last year’s €88 million Louvre jewel heist have been reported by the French newspaper Le Monde.
Louvre Heist Suspects We Could Have Taken More

The smash-and-grab heist garnered global attention last year after thieves used a furniture lift mounted to a truck to access a balcony at the world-famous museum. Photo: Thomas Padilla.

Louvre Heist Suspects: ‘We Could Have Taken More’
By Naomi Rea – 14 July 2026, Paris

New details have emerged about the €88 million theft of French crown jewels from Paris’s Louvre museum in October last year, including claims that an unnamed “mastermind” organised the heist, but was left disappointed by the amount taken.

According to reporting by Le Monde, in transcripts of interviews with two investigating judges, two men charged with the high-profile crime allege that they were following orders from a third party who commissioned the operation. The pair said they would not name this person out of fear of reprisals, according to the French newspaper.

The smash-and-grab heist garnered global attention last year after thieves used a furniture lift mounted to a truck to access a balcony at the world-famous museum, before smashing a window to enter the gallery and using angle grinders to access the display cases. Videos showing suspects wearing high-vis vests descending slowly on the arm of the furniture lift before absconding on scooters soon went viral, highlighting security vulnerabilities at the museum.

Days after the burglary, the museum’s president, Laurence des Cars, acknowledged a “terrible failure” and admitted that security camera coverage was “highly inadequate”. She resigned from her post in February this year.

The two suspects, who now claim they were acting on behalf of another, hail from the northern Paris suburb of Aubervilliers and were arrested a week after the crime. They are now in prison awaiting trial for organised gang theft.

In the interviews obtained by Le Monde, which were conducted in June, both suspects alleged that they were recruited a couple of days ahead of the crime and had received a video filmed inside the Apollo Gallery showing the location of the jewel cases they were to target. 

Investigators have cautioned that they do not yet have any hard evidence, such as digital communications, to support the existence of this alleged mastermind, Le Monde reported. Neither the public prosecutor’s office nor lawyers representing the two men responded to Ocula’s requests for comment.

According to Le Monde, in an interview with judges, a suspect named locally as Abdoulaye N is reported to have said: “We were meant to take as many jewels as we could. If we stayed more than three minutes, we knew we had to leave or we’d get caught.”

The 40-year-old, who worked as an unlicensed taxi driver, reportedly claimed he was recruited because of his reputation for riding motorcycles, and that he had accepted the job because he was in financial difficulty and was promised between €15,000 and €20,000. Reportedly, he alleged that the objective of the plan’s main architect was to resell the jewels, and that his fee could be raised depending on what they were sold for.

The other suspect, a 36-year-old man of Algerian descent identified only as Ghelamallah A, reportedly said he did not know the Louvre was the intended target, instead believing he was targeting a jewellery store and would be paid between €20,000 and €25,000 for the job. He is quoted as saying: “I would never have set foot there if I had known.”

Abdoulaye N, meanwhile, is quoted as claiming that the stolen jewels were handed over in an underground car park in Aubervilliers. “The mastermind was not happy. He thought we could have taken more,” he is reported to have said. Both suspects insisted they had no knowledge of what happened to the jewellery afterwards, according to Le Monde

The handover is corroborated by grainy security footage from a car park surveillance camera around an hour after the heist, which is, according to Le Monde, where the police trail for the jewels runs cold. 






Violent Museum Thefts

 


Violent Museum Thefts on the Rise, Europol Report Warns

Findings from the EU law enforcement body point to an increased use of weapons and explosives in museum robberies, meeting a growing need from the criminal market for jewels and cultural artefacts.
Violent Museum Thefts on the Rise Europol Report Warns

The traditional profile of the “art thief” has also changed, with sector specialists and established networks being replaced by robbery-to-order recruitment, as allegedly seen in last year’s Louvre heist. Photo by Irina Lediaeva on Unsplash

Violent Museum Thefts on the Rise, Europol Report Warns
By Imogen Lees – 25 August 2026, The Hague

Thefts from museums are becoming increasingly violent and targeting high-value items to meet strong demand from the criminal market, according to a newly published report from Europol.

The report, shared earlier this week by the official European agency for law enforcement co-operation, revealed that thieves are “adopting more direct and confrontational approaches” to their operations, increasingly using violence during targeted attacks and opening display cases with weapons including axes, crowbars and explosives. 

“In some cases,” the report said, “offenders use firearms to intimidate security personnel and visitors. Some museum thefts have involved direct physical assaults on staff such as tying them up or using brute force against them.”

In November 2024, four hooded thieves armed with axes and baseball bats stole snuff-boxes valued at around €1 million from the Cognacq-Jay Museum in Paris. In January the following year, Dacian artefacts—including the Golden Helmet of CoÈ›ofeneÈ™ti and three golden bracelets—were stolen from the Dutch Drents Museum in Assen after explosives were detonated at the institution’s door.

Evidence from Europol member states suggests that thieves are focusing on specific categories of cultural artefacts, such as Chinese porcelain, which is in demand on the global art market. Also popular are precious metals, which can be melted down and broken up to resell. 

According to the report, the use of force has also been closely linked to targeted operations, suggesting both prior identification of specific objects and pre-planned execution.

The traditional profile of the “art thief” has also changed, with sector specialists and established networks being replaced by robbery-to-order recruitment, in which criminals with a history of involvement in other kinds of illegal activity are being hired—through local social media or messaging apps—in order to execute specific operations.

This latter practice was evidenced in the 2025 Louvre heist, during which jewellery worth an estimated €88 million was stolen by thieves who drove a hoist up to a window before breaking into the Apollo Gallery and smashing display cases with angle-grinders. 

The robbery’s suspects claim they were recruited days before the theft and promised around €20,000 each by an unnamed mastermind. One suspect has also claimed not to have known that he would be stealing from the Louvre, instead believing he would be breaking into a jewellery store.

Europol has claimed some success in beating the criminals, citing a November 2025 operation that dismantled a network which had been trafficking gold and silver coins and other antiquities. The agency set up a task force that uncovered the links between individuals based in different countries and helped to locate additional pieces suspected to have been trafficked by the network.

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Daytime Heist

 


Another Daytime Heist Shakes the Art World, This Time in Brazil
By Rachel Kubrick – 10 December 2025, São Paulo

São Paulo’s Mário de Andrade library now has 13 fewer artworks in its holdings following an armed robbery that took place on Sunday morning. Eight works on paper by Henri Matisse were stolen, as well as five works by Brazilian artist Candido Portinari.

The pair were reportedly armed, although no shots were fired. They entered the library via its main entrance, breaking a glass case and removing the Matisse pieces from a wall display, and escaping with the artworks in a large canvas bag through the same entrance. Additional CCTV footage shows the suspects carrying several of the framed works by hand in a street a few blocks away.

Cândido Portinari, O delírio, do álbum Memórias Póstumas de Brás Cubas (1943–1944). Collection MAM São Paulo,.

Cândido Portinari, O delírio, do álbum Memórias Póstumas de Brás Cubas (1943–1944). Collection MAM São Paulo,. © Candido Portinari, AUTVIS, Brasil, 2025. Photo: Ding Musa.

The getaway car has since been recovered, and one suspect was arrested on Monday, while the other remains at large. The prints have yet to be recovered, although Interpol is working to prevent them from leaving Brazil.

The theft shares some striking similarities to the Louvre heist that captured global media attention less than two months ago, with the two thieves surprising visitors and security in broad daylight. It occurred on the final day of the Do livro ao museu (From the Book to the Museum) exhibition, a display of mid-century works on paper from the library’s collection, as well as that of the Museu de Arte Moderna de São Paulo.

Henri Matisse,

Henri Matisse. Exhibition view: Do livro ao museu (From the Book to the Museum), Biblioteca Mário de Andrade, São Paulo (2025). Courtesy Biblioteca Mário de Andrade. Photo: Ding Musa.

Henri Matisse, 

Henri Matisse, Jazz (1947). Biblioteca Mário de Andrade, Núcleo de Obras Raras e Acervos Especiais.

Henri Matisse, Jazz (álbum) (1947). Publicado por Éditions Tériade (Paris). Collection Biblioteca Mário de Andrade, São Paulo.

Henri Matisse, Jazz (álbum) (1947). Publicado por Éditions Tériade (Paris). Collection Biblioteca Mário de Andrade, São Paulo. Photo: Ding Musa.

The stolen Matisse works come from the artist’s 1947 Jazz album, encompassing 20 stencils on paper. There are a total of 350 editions of the series between portfolio and folded versions. The library has yet to reveal the value of the stolen works; a complete set of Jazz was sold at Christie’s in New York for $504,000 (including fees) this past April.

The Portinari works included his woodcut illustrations from the 1959 edition of José Lins do Rego Cavalcanti’s novel Menino de engenho (Plantation Boy). Portinari, who died in 1962, is regarded as one of Brazil’s most prominent modernists, well known for his neo-realist paintings, including the Guerra e Paz (War and Peace) (1952–1956) murals at the United Nations headquarters in New York. —[O]

Main image: Henri Matisse, Jazz (álbum) (1947) (detail). Publicado por Éditions Tériade (Paris). Collection Biblioteca Mário de Andrade, São Paulo. Photo: Ding Musa.

Selected works by Henri Matisse