by Alan Hirsch
But the issue of timing is more significant. The time of the theft could have been 3 A.M. or 4:30 A.M., and there is no reason Bunton would remember—if he ever knew—the exact time. Imprecise recollection would not be unusual in the most normal of circumstances, and he was in the midst of committing a breathtakingly risky felony. Surely fear and adrenalin would compromise memory. But to be off by five or more hours? Again, this seems nearly impossible, especially since taking the painting in the wee hours was central to John Bunton’s narrative of the crime.
Is it conceivable that neither Bunton nor the security personnel are mistaken? In a Grisham-like potboiler, reality imposes few constraints and one could surely invent scenarios in which the painting was missing at 10 P.M. and stolen many hours later. Maybe the earlier disappearance was indeed on account of one of the innocent explanations originally assumed by the men who noticed it missing—it had been temporarily removed, only to be returned a few hours later, and then stolen by Bunton several hours after that. But such scenarios require fanciful speculation unsupported by any evidence. Occam’s razor dictates the conclusion that either Bunton or the men who saw the painting missing are mistaken.a
Occam’s razor, an approach to problem solving created by medieval scholar William of Occam and accepted by most philosophers today, counsels selecting among competing hypotheses the one that requires the fewest assumptions.
So, in the final analysis, what can be done with the timing mystery? I close this book with a reflection and a question pertaining to this crucial unresolved issue.
Kempton Bunton essentially stole John Bunton’s identity as the thief who pulled off the impossible crime. As John put it plainly, “He took my story and adapted it.” The adaptation involved Kempton borrowing from the actual facts as described to him by his son, but there was also his characteristic embellishment and invention. To take just one example, the disguise and toy gun that Kempton claimed to have used (at least in some of his versions) figure nowhere in John Bunton’s narrative; they can be chalked up to Kempton’s fertile imagination. Or, to take a less exotic but more important example, John Bunton gives one clear and consistent account of what he did with the painting’s frame; Kempton gave multiple accounts and multiple explanations for giving different accounts.
So we know that Kempton Bunton could not resist putting his own stamp on his son’s story in the course of making it his own. Perhaps one of those liberties involved the time of the theft. Perhaps he saw something extra-romantic about making the heist in the wee hours rather than a more jejune time like 9 P.M. If Kempton Bunton appropriated his son’s act, and to a great degree his narrative, is it possible that John Bunton consciously or unconsciously did the same thing in reverse? After all, he was in the courtroom when Kempton testified in detail about how he pulled off the crime. Kempton then took ownership of the crime right up until his death in 1976, and apart from his panic-driven confession in 1969, John played along with the fiction of Kempton-as-thief until he was outed in 2012. Did John Bunton simply adopt Kempton’s version of the theft, at least with respect to many particulars?
It may have been tempting for John to say, “The crime happened the way my father described it, except I was the thief, not he.” That would have been easier than himself reconstructing all the details, many of which he might have forgotten by 1969 (eight years after the theft), the first time he was called upon to provide a narrative of the theft. And, having imported his father’s timeline, did he perhaps come to believe it? Faulty memories can drive out the real thing. That, at any rate, is one possibility.
The discrepancy between reality (the likelihood that the painting was stolen the night of August 21) and John Bunton’s firm recollection (that the painting was taken in the wee hours of August 22) is a nice note on which to end the tale of a saga that from the beginning sparked and sustained enormous confusion. The theft of Goya’s Portrait of the Duke of Wellington befuddled Scotland Yard and gave rise to a trial notable for Kempton Bunton’s elaborate perjury and the suppression of Pamela Smith’s truthful account. The prosecutor, judge, and jury all acted oddly, in part because they were hampered by an incredible law. For good measure, the media and historians got things wrong for half a century. Is it not fitting that such a story still resists closure?
NOTES
CHAPTER 1
11. “so brazen that Agatha Christie herself would most likely have dismissed it as too farfetched”—”Art: And Now—The Duke,” Time, September 1, 1961, 48.
11. “the most spectacular art robbery since an Italian workman lifted the Mona Lisa from the Louvre”—”Gone—The Iron Duke,” Newsweek, September 4, 1961, 61.
11. “the most spectacular art robbery of the century,” Frank Whitford,“The Secret Life of Kempton Bunton,” Arts Review, 1972, 27.
11. “the most famous art rip-off England has ever known”—Sean Steele, Heists: Swindles, Stick-ups, and Robberies: Crimes That Shocked the World (New York: Metro Books, 1995), 74.
12. “The Great Duke” and “England’s greatest son”—Alfred Lord Tennyson, “Ode on the Death of the Duke of Wellington.”
13. “strained but full of energy, as well he might be”—”The National Gallery, January 1960–May 1962,” National Gallery, 1962, 30.
14. “inarticulate almost to the point of incoherence”—Arthur Marwick, Britain in the Century of Total War (Boston: Little Brown, 1968), 424.
14. “a license should be refused because of the picture’s national importance”—“Expert Advice If Export of Goya Sought,” London Times, June 16, 1961, 14.
15. “Mrs. Wrightsman and I lead a very quiet life and we try to avoid publicity . . . . I had a father who told me, ‘I never saw a deaf and dumb man in jail’”—”Charles Bierer Wrightsman, Philanthropist, Is Dead at 90,” New York Times, May 28, 1986, B-7.
16. “would not wish to export the painting if it was considered of overriding aesthetic and historical importance to Great Britain”—”Goya Wellington Offered to Nation for £140,000,” London Times, June 22, 1961, 12.
17. “a great and historic picture should now become the property of the nation”—”£100,000 Saves Goya’s Duke for the Nation,” London Times, August 3, 1961, 8.
17. “stealing art is a branch of burglary suitable only to the most skilled criminal”—”Amateur Burglary,” Time, August 11, 1961, 45.
17. “protect it from moisture and strong light”—”Gone—The Iron Duke,” Newsweek, September 4, 1961, 61.
17. “the sensation was dampened by the fact that everyone believed it to be a political gesture. And so it turned out to be” and “valued at 10 times as much as the Morisot”—“The Missing Goya,” London Guardian, August 23, 1961, 6.
17. “Goya’s portrait of the Duke of Wellington has disappeared from the National Gallery, it was announced yesterday,” “removed for a legitimate purpose, such as being photographed elsewhere in the building,” and “Interpol have been warned and ports and airports are being watched to prevent the picture from being smuggled out of the country”—“£140,000 Goya Vanishes,” London Times, August 23, 1961, 8.
18. “the wide distribution of the thefts might suggest that an international gang is at work,” “The motive for them seems obvious enough,” “how and why they may be disposed of is more of a puzzle,” and “no doubt many thieves count on being able to extract some form of ransom”—“An Unprecedented Year of Thefts,” London Times, August 23, 1961, 8.
18. “from the same small group of artists and connoisseurs” and “practical experience of security in other fields”—letter to the editor, London Times, August 26, 1961, 7.
18. “false sense of security”—letter to the editor, London Times, August 26, 1961, 9.
18. “independent inquiry” and “the nation’s art treasures are too precious for their safety to be left in the least doubt”—“Might It Happen Again?” London Times, August 31, 1961, 9.
18. “had considerable repercussions, even worldwide”—Eric Crowt
her, Last in the List: The Life and Times of an English Barrister (Plymouth, UK: Bassett Publications, 1988), 245.
CHAPTER 2
All quotes are from Kempton Bunton’s unpublished memoirs, in the possession of the author.
CHAPTER 3
27. “should rule out the possibility of theft,” “further patrols made [were] primarily regarded as precautions against fire,” and “in a jocular manner, to keep myself clear in case something had happened”—Philip Hendy, “Director’s Interim Report on the Theft of Goya’s ‘Duke of Wellington,’” National Gallery, August 25, 1961.
28. “Only an expert could have removed the picture undetected”—“Hunt Goes on for Missing Goya,” London Times, August 24, 1961, 8.
28. “damaged by a maniac” and “easy detachment of pictures”—Philip Hendy, “Director’s Report on Security before and after 21st August, 1961,” National Gallery, September 8, 1961.
29. “Since August 22 the windows of both lavatories have been sealed”—Philip Hendy, “Director’s Interim Report on the Theft of Goya’s ‘Duke of Wellington,’” National Gallery, August 25, 1961.
29, 30. “an instruction particularly relevant to the events of August 21 was that during closed hours a post was to be maintained if possible in the vestibule, “this has been impossible since 1957,” “Immediately after the theft the Instructions were revised orally, “a completely new series were typed and issued before the end of August,” “At least one Warder is stationed in the Vestibule during closed hours,” and “kept permanently under lock and key, day and night”—Philip Hendy, “Director’s Report on Security before and after 21st August, 1961,” National Gallery, September 8, 1961.
30. “Of all the incredible aspects to the theft last week of the famous painting, perhaps the most astonishing was that it went unreported for eleven hours”—“Gone—The Iron Duke,” Newsweek, September 4, 1961, 61.
30. “These rules have had to go into abeyance during any large-scale rehanging of the Gallery such as has only recently been completed”—Philip Hendy, “Director’s Interim Report of the Theft of Goya’s ‘Duke of Wellington,’” National Gallery, August 25, 1961.
30. “the fixing of tablets had been resumed immediately,” “certainly been resumed nearly two months before the theft,” and “the practice of fixing tablets was never regarded as a security measure”—Philip Hendy, “Director’s Commentary on the Report of Enquiry into Security at the National Gallery,” National Gallery, February 21, 1962.
31. “Warder Sergeant Barber on leave. Acting W.S. knew he should inspect lavatory but did not”—National Gallery emergency board meeting minutes, September 11, 1962.
32, 33. “a first class man,” “was on the list of staff which I recommended the Committee to interview,” “Frequent failure to fix the tablets,” and—Philip Hendy, “Director’s Commentary on the Report of Enquiry into Security at the National Gallery,” National Gallery, February 21, 1962.
34. “from July 28, those yards have been made accessible to the Old Barrack Yard”—Philip Hendy, “Director’s Interim Report on the Theft of Goya’s ‘Duke of Wellington,’” National Gallery, August 25, 1961.
35. “a piece of mud which looked as though it had been left by someone’s shoe,” “marks on the south gate,” “I assumed to be marks of egress,” and “on that gate I found long vertical marks on the inside”—deposition of Detective Inspector John MacPherson in case of Regina v. Bunton.
35. “inevitable weakness of contact in places, such as those caused by slight faults in doors, and owing to the presence of late workers in some parts of the building”
35. “The picture must have been taken from its place between 7:40 p.m. and about 9 p.m.”—Philip Hendy, “Director’s Interim Report on the Theft of Goya’s ‘Duke of Wellington,’” National Gallery, August 25, 1961.
35. Kenneth Clark’s theory “Gone—The Iron Duke,” Newsweek, September 4, 1961, 61.
CHAPTER 4
All quotes from Kempton Bunton’s unpublished memoirs, in the possession of the author.
CHAPTER 5
47. Swinging England—Time, April 15, 1966, cover.
47. “the rollicking revolution of merrie England”—Daily Express, December 19, 1962, 69–70.
48. “in the interests of humanity at large”—“Demand for Goya ‘Ransom’ to Be Paid to C.N.D,” London Times, September 2, 1961, 6.
49. “the poor hopeless little nut”—Ben Rogers, A. J. Ayer: A Life (New York: Grove Press, 1999), 279.
50. “might be a crank, someone playing a joke, someone who doesn’t like the Duke of Wellington” and “I wouldn’t be surprised if the painting isn’t already on its way to one of those very, very private collectors in the U.S.”—“Gone—The Iron Duke,” Newsweek, September 4, 1961, 61.
50. “If a miser can find joy”—Richard Condon, “The Art Thefts,” Nation, October 7, 1961, 229.
50. “Piccadilly Lock Pickers”—“They Remember Mona,” Miami News, August 31, 1961, 6b.
51. “the theft may be prompted by misguided patriotism”—“Pictures as Booty,” London Times, September 27, 1961, 13.
52. “Personally I see no reason to doubt the story”—“£140,000 Ransom Demanded for the Goya,” London Times, September 1, 1961, 8.
53. “The art thieves I met in my career ran the gamut—rich, poor, smart, foolish, attractive, grotesque”—Robert Wittman, Priceless: How I Went Undercover to Rescue the World’s Stolen Treasures (New York: Crown, 2010), 15.
54. “strict measures were taken by the National Gallery last night to protect their collection of Renoir paintings”—“Strict Guard on National Gallery after New Threats,” Sunday Times, September 3, 1961, 1.
CHAPTER 6
All quotes from Kempton Bunton’s unpublished memoirs, with the exception of the following:
58. “ridiculous tax” and “he said that he intended to carry the case to the end even if it meant going to prison”—“Viewer Objects to ‘Ridiculous Television Tax,’” London Times, April 30, 1960, 4.
59. “treat the B.B.C. levy with the contempt it deserves,” “sick of empty promises given by forgetful governments,” “only concerned that you should pay your fine,” “one man campaign against the Inland revenue and the BBC,” and “I expect to be in and out of gaol a lot”—“Man with No TV License Faces Prison,” London Times, May 20, 1960, 9.
62. “Perhaps the extraordinary price tags that have been placed on great art”—Richard Condon, “The Art Thefts,” Nation, October 7, 1961, 229.
63. “flair for history”—Milton Esterow, The Art Stealers (New York: Macmillan, 1966), 15.
CHAPTER 7
70. “magnificent portrait of a great soldier” and “the joke has gone on long enough”—“Return Goya Plea by Lord Montgomery,” London Times, July 6, 1962, 15.
70, 71, “Whether the label is authentic or not, we do not know,” “quite sure,” “it is undoubtedly our label,” and “This may be a clue that will lead somewhere”—“Letter Claims Stolen Goya Painting Is Safe: Duchess of Leeds ‘Recognizes Label,’” London Times, July 5, 1962, 12.
75. “would like to contact those who have the missing Goya portrait in their possession”—New Statesman 66, no. 1708 (December 6, 1963):859.
78. “agreed that the letter came from the same source as two previous communications from the present holder of the picture” and “there was no action which could usefully be taken”—“Report from the Director,” National Gallery, January 9, 1964.
78. “to me they were the ashes of something hard. . . . I am no expert, but it might have been the painting”—’”Goya Ashes’ in Left Luggage Office,” London Times, January 1, 1964, 10.
78. “To destroy the painting would give no real satisfaction”—“The Missing Masterpiece,” London Times, January 6, 1964, 11.
79. “record-breaking crowds now coming to the Royal Academy would be delighted” and “I challenge those concerned with the Duke’s present safety to accomplish
this ‘Rafflesian’ task”—Sir Charles Wheeler, letter to the editor, London Times, January 7, 1964, 9.
79. “would probably be intensified rather than relaxed if it were returned anonymously” and “an opportunity for getting evidence that would catch the thief or thieves”—“No Yard Bargaining on Goya Return,” Daily Telegraph, January 8, 1964, 17.
CHAPTER 8
All quotes from Kempton Bunton’s unpublished memoirs, with the exception of:
87. “slightly built, well-educated man, probably over 35 years of age, living alone with his fear and mild paranoia”—Cal McCrystal, “The Mind of the Goya Thief,” Sunday Times, March 21, 1965, 5.
CHAPTER 9
90. “I should have thought that a man of this degree of ingenuity,” “temporarily appropriated,” “do the sensible thing and return the picture,” and “place all the treasures committed to our care”—“LD. Robbins Says Goya Offer Authentic,” London Times, March 17, 1965, 12.
91. “People buy the Mirror not for the day’s news, but to be entertained”—Cecil Harmsworth King, Strictly Personal: Some Memoirs of Cecil H. King (London: Weidenfeld & Nicolson, 1969), 105.
91, 92. “bite-sized news, crime, sensationalism, astrology, sentiment, social conscience and sex”—Ruth Dudley Edwards, Newspapermen: Hugh Cudlipp, Cecil Harmsworth King, and the Glory Days of Fleet Street (London: Random House UK, 2003), 119. “national art treasure,” “deposit it in any safe place of his choice,” “for the