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Additionally, just as financial consultants have established mutual funds and invested solely in works of art, so the criminal is now beginning to appreciate the investment value of art. In fact, even when recoveries are made, the frequent absence of one or two of the best pieces suggests stockpiling by the criminal element.
    Crime bosses and small-time crooks began to buy museum catalogs and art magazines and look very hard at the old and new masters. Compared to burglary or bank robbery, art thefts are easy and pay well for little risk. Many museums, prior to the 1960s, had never heard of security alarms, let alone used them. Insurance companies and owners who wanted the unique treasures returned safely would not argue about rewards or ransoms.
    So the crime bosses began to convert their henchmen into art thieves. When they found the extortion racket worked, they invented others: dealing stolen religious objects, altering them and filtering them into an antique market; new techniques in art smuggling; and selling novel art forms such as Hong Kong Ming. An equally inspiring tale of boldness was when a criminal sold Salvatore Dali one of his own stolen paintings. Remember that criminals play on human frailty and sorrow, and the fact that every man believes himself to be something of a discoverer and cannot resist the lure of easy money. The attempt by a person to make quick and easy money is one of the greatest human instincts.
    Forgeries
    A unique example of cultural and artistic work exists in parts of Africa. Much African art is carved in traditional styles, artificially aged, and then sold under false pretenses. These forgeries are so well executed, only the most competent experts are able to detect them. East African carvers visit museums to study the aging process and style of art objects. In Nigeria, West Africa, carvers generally have better access to museums than in the East, and are able to familiarize themselves with the art market.
    Art Theft to Order
    Remember that the art and antique thief does not have to be the person who physically removes the item from the home, business or museum. The actual thief, in terms of the police investigation, would not only be the person who physically removed the item, but the person who set the wheels in motion.
    For example: We have Mr. Jones, a collector of fine art and antiques. He's collected nearly all the signed original works of Salvatore Dali created during a certain time period when Dali, let's say, was at a certain level of impressionism in his painting. Mr. Jones does not have one painting and desires that one very much.
    We must remember that artists have periods in their lives, much like musicians, when their art takes on a certain style somewhat different from years before and the years that follow. So this collector, Mr. Jones, simply must have the one missing painting. He hires a private detective firm to find the rightful owner of the painting. But, the rightful owner is determined not to sell. If he still wants the painting, Mr. Jones must decide to do one of two things:
    Scenario 1 : He may decide to have another person (a broker) approach the owner on his behalf for the sale of the painting. Of course, this is risky because, if the painting is stolen shortly after the person turns down the offer, the owner would only have to alert the local authorities as to who contacted him. However, should the broker approach the rightful owner and not represent exactly who he is trying to buy it for, then it cannot be traced as easily. Another downfall to this type of bid is that the owner will probably sell it to Mr. Jones at top dollar.
    Scenario 2: Now let's proceed to the more common way of acquiring the desired painting. Mr. Jones will use the services of a quasi-legal private investigator to determine the rightful owner and location of the desired painting. From that point he contacts a fence who he knows will deal in stolen art and antiques. Of course, these fences