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The Great Chinese Art Heist: Imperialism, Organized Crime, and the Hidden Story of China's Stolen Artistic Treasures
The extraordinary story of the theft of priceless Chinese antiques around the world and the connection to crimes spanning more than two centuries—with present-day implications.
For the past decade, the art world has been rocked by a series of very costly and elaborately planned heists at major museums. The first took place the night of August 6, 2010 at the Drottningholm Palace in Stockholm, Sweden – the official residence of the Swedish Royal family. Others in France, Great Britain and other countries in Europe followed.
In Norway, masked men rappelled down from a glass ceiling into the prestigious Kode Museum on Bergen's picturesque central square, three blocks from police headquarters. In all of these break-ins, the thieves made away with ancient Chinese artifacts, most of which were originally displayed in the spectacular Old Summer Palace outside of Beijing nearly two centuries ago.
In The Great Chinese Art Heist, bestselling author Ralph Pezzullo takes us back to the Second Opium War and the sacking of Old Summer Palace by French and British troops in 1860 and connects it to the current wave of heists that seem right out of a Impossible movie. Comprehensive, balanced, entertaining, and expertly balancing diverse cultural and political perspectives, Pezzullo links these looted artifacts and roots of colonialism to today's billionaires and triad gangs, international banks and drug cartels. The wounds of the past, which is still called the "Century of Humiliation" in China, remain raw.
The Great Chinese Art Heist is a sweeping narrative filled with the voices of those who have lived it—art and art crime experts, and museum and government officials in China, Europe, and the US. In this riveting true crime, Pezzulo expertly grapples with the questions of ownership and cultural heritage, and embodies the words of art critic Holland Cotter—“The history of art is, in large part, a theft of history.”
For the past decade, the art world has been rocked by a series of very costly and elaborately planned heists at major museums. The first took place the night of August 6, 2010 at the Drottningholm Palace in Stockholm, Sweden – the official residence of the Swedish Royal family. Others in France, Great Britain and other countries in Europe followed.
In Norway, masked men rappelled down from a glass ceiling into the prestigious Kode Museum on Bergen's picturesque central square, three blocks from police headquarters. In all of these break-ins, the thieves made away with ancient Chinese artifacts, most of which were originally displayed in the spectacular Old Summer Palace outside of Beijing nearly two centuries ago.
In The Great Chinese Art Heist, bestselling author Ralph Pezzullo takes us back to the Second Opium War and the sacking of Old Summer Palace by French and British troops in 1860 and connects it to the current wave of heists that seem right out of a Impossible movie. Comprehensive, balanced, entertaining, and expertly balancing diverse cultural and political perspectives, Pezzullo links these looted artifacts and roots of colonialism to today's billionaires and triad gangs, international banks and drug cartels. The wounds of the past, which is still called the "Century of Humiliation" in China, remain raw.
The Great Chinese Art Heist is a sweeping narrative filled with the voices of those who have lived it—art and art crime experts, and museum and government officials in China, Europe, and the US. In this riveting true crime, Pezzulo expertly grapples with the questions of ownership and cultural heritage, and embodies the words of art critic Holland Cotter—“The history of art is, in large part, a theft of history.”
304 pages, Hardcover
Published July 15, 2025
13 people are currently reading
150 people want to read
About the author
Ralph Pezzullo
43 books28 followersRalph Pezzullo is a New York Times bestselling author, and award-winning playwright and screenwriter.
Born in New York City, he grew up in Mexico, Vietnam, Bolivia, Colombia, Guatemala, Uruguay and Nicaragua. After receiving a Master's Degree in international affairs he worked on Capitol Hill and later as a correspondent for Associated Press covering assignments in Latin America.
His books have been published in over twenty languages and include Jawbreaker (with CIA operative Gary Berntsen), Inside SEAL Team Six (with Don Mann), The Walk-In, At the Fall of Somoza, Plunging Into Haiti (winner of the 2006 Douglas Dillon Prize for American Diplomacy), The Chopin Manuscript (winner of the 2008 Audio Book of the Year), Eve Missing, Blood of My Blood, Most Evil (with Steve Hodel), The Navy SEAL Survival Handbook (also with Don Mann), Zero Footprint, Left of Boom, Full Battle Rattle, and the SEAL Team Six thrillers Hunt the Wolf, Hunt the Scorpion, Hunt the Falcon, Hunt the Jackal, Hunt the Fox, Hunt the Dragon and Hunt the Viper.
He has also written for television and film, writing screenplays for all the major film studies and working with directors Oliver Stone, Antoine Fuqua, George Gallo, Roger Donaldson, and others. His screenplay, An Unacceptable Person, was the recipient a Writer’s Guild East Foundation New Screenplay Award. And his radio drama series, The Life and Times of the Swamp Fox, was funded by the National Endowment of the Humanities, broadcast on PBS and the BBC, and nominated for a Peabody Award.
His plays, all of which have been produced in New York City, include Dear Friends, On That Day, Eating the Shadow, The Education of One Miss February, From Behind the Moon, Ghosts in the Dining Room, Bad Moon Rising, Gauguin’s Parrot, Asylum, Hide Mother in My Heart, Spain, and Okeechobee Split. They have also been performed in London, Mexico City, Copenhagen, Chicago, Los Angeles, Washington DC, and Seattle. Tail of the Tiger was honored by the Kesselring Committee of the National Arts Club, and Wilderness of Mirrors was Winner of the Center Theater International Play Contest. He has been the recipient of six Jerome Foundation playwriting fellowships. His latest play The American Wife opened at The Park Theatre in London in September 2016.
Ralph is a member of the Writer’s Guild, Author’s League of America, Mystery Writer’s Association, International Thriller Writers, and PEN USA; and is listed in Who’s Who in America and Who’s Who in the World.
He lives in Los Angeles.
Born in New York City, he grew up in Mexico, Vietnam, Bolivia, Colombia, Guatemala, Uruguay and Nicaragua. After receiving a Master's Degree in international affairs he worked on Capitol Hill and later as a correspondent for Associated Press covering assignments in Latin America.
His books have been published in over twenty languages and include Jawbreaker (with CIA operative Gary Berntsen), Inside SEAL Team Six (with Don Mann), The Walk-In, At the Fall of Somoza, Plunging Into Haiti (winner of the 2006 Douglas Dillon Prize for American Diplomacy), The Chopin Manuscript (winner of the 2008 Audio Book of the Year), Eve Missing, Blood of My Blood, Most Evil (with Steve Hodel), The Navy SEAL Survival Handbook (also with Don Mann), Zero Footprint, Left of Boom, Full Battle Rattle, and the SEAL Team Six thrillers Hunt the Wolf, Hunt the Scorpion, Hunt the Falcon, Hunt the Jackal, Hunt the Fox, Hunt the Dragon and Hunt the Viper.
He has also written for television and film, writing screenplays for all the major film studies and working with directors Oliver Stone, Antoine Fuqua, George Gallo, Roger Donaldson, and others. His screenplay, An Unacceptable Person, was the recipient a Writer’s Guild East Foundation New Screenplay Award. And his radio drama series, The Life and Times of the Swamp Fox, was funded by the National Endowment of the Humanities, broadcast on PBS and the BBC, and nominated for a Peabody Award.
His plays, all of which have been produced in New York City, include Dear Friends, On That Day, Eating the Shadow, The Education of One Miss February, From Behind the Moon, Ghosts in the Dining Room, Bad Moon Rising, Gauguin’s Parrot, Asylum, Hide Mother in My Heart, Spain, and Okeechobee Split. They have also been performed in London, Mexico City, Copenhagen, Chicago, Los Angeles, Washington DC, and Seattle. Tail of the Tiger was honored by the Kesselring Committee of the National Arts Club, and Wilderness of Mirrors was Winner of the Center Theater International Play Contest. He has been the recipient of six Jerome Foundation playwriting fellowships. His latest play The American Wife opened at The Park Theatre in London in September 2016.
Ralph is a member of the Writer’s Guild, Author’s League of America, Mystery Writer’s Association, International Thriller Writers, and PEN USA; and is listed in Who’s Who in America and Who’s Who in the World.
He lives in Los Angeles.
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Displaying 1 - 30 of 40 reviews
August 19, 2025
On a warm August night in 2010, masked thieves set fire to several cars in Stockholm drawing the attention of the Swedish police. As the authorities fought to control the blaze, the thieves broke their way into the Drottningham Palace, the private residence of the Swedish royal family, and stole priceless Chinese art and artifacts. Later in the same year, masked intruders rappelled from the ceiling of the KODE museum in Norway to steal 56 objects from the Chinese collection. More heists would continue to take place at these locations and others such as at Durham University in England, these heists all had one thing in common… the origin of the art.
Similar to what the thieves did in Stockholm, I felt a bit mislead when I gravitated to this book. I thought it would be epic art heists and espionage. The Great Chinese Art Heist does include some art heisting but the vast majority of the book covers the sacking of the Old Summer Palace in Beijing by French and British troops in 1860 and the history of colonialism by Western powers during China’s century of humiliation.
The history itself was fascinating and Pezzullo leads us to the modern day and how China uses economic power, triad illegal operations and corporate bullying to begin to reclaim some of their lost heritage. Overall it’s a fast paced, accessible, and informative read about a topic I wasn’t even remotely aware of, but I do feel slightly disappointed that there was not more content of the heists themselves.
Similar to what the thieves did in Stockholm, I felt a bit mislead when I gravitated to this book. I thought it would be epic art heists and espionage. The Great Chinese Art Heist does include some art heisting but the vast majority of the book covers the sacking of the Old Summer Palace in Beijing by French and British troops in 1860 and the history of colonialism by Western powers during China’s century of humiliation.
The history itself was fascinating and Pezzullo leads us to the modern day and how China uses economic power, triad illegal operations and corporate bullying to begin to reclaim some of their lost heritage. Overall it’s a fast paced, accessible, and informative read about a topic I wasn’t even remotely aware of, but I do feel slightly disappointed that there was not more content of the heists themselves.
Read
September 18, 2025Książka sprawia wrażenie niewprawnej: większość treści to streszczenie głównych wydarzeń historycznych z dość standardowym komentarzem. Liam P. na Goodreads zauważył, że fascynujące sprawy kryminalne w tej narracji przeistaczają się w "coś znacznie większego". Nie mam wątpliwości, że taki był zamysł autora. Niestety, choć autor skupia się na tym, w jaki sposób dawne wydarzenia wiążą się ze współczesnym chińskim nacjonalizmem i kradzieżami dzieł sztuki, to o samych kradzieżach mówi zaskakująco niewiele. Dla mnie ta książka to raczej szkic tła, na którym dopiero można by zbudować właściwy temat tytułu. Szczerze mówiąc, sama nie wiem, po co ją kończyłam.
August 22, 2025
The author sets out to uncover the story of a string of daring heists in European museums targeting Chinese artifacts. His goal is not just to describe the thefts, but to situate them within the long arc of history—particularly the looting of Beijing’s Old Summer Palace (Yuanmingyuan) by French and British forces in 1860 during the Opium Wars.
He argues that these modern heists are more than ordinary crime: they are tied to China’s national memory of humiliation, its current cultural revival, and even state-driven efforts to reclaim heritage. By connecting the thefts to China’s political climate and the resurgence of nationalism, he highlights how art theft becomes entangled with identity, history, and power.
The book weaves together investigative reporting, historical research and expert testimony covering the following ...
1. The Heists – Detailed accounts of museum break-ins (e.g., Drottningholm Palace in Sweden, Fontainebleau in France) where thieves targeted only Chinese treasures, often using professional, military-style tactics.
2. Patterns & Suspicions – The precision suggested inside knowledge and possible involvement of Chinese organized crime (triads) and state-linked conglomerates such as China Poly Group (with ties to the PLA and intelligence services).
3. Historical Backdrop -
(a) The destruction and looting of the Old Summer Palace in 1860 during the Second Opium War is presented as the original art heist against China, symbolizing the “Century of Humiliation.”
(b) First-hand accounts, including Victor Hugo’s lament and British officers’ reports, underline the magnitude of the cultural loss (over a million artifacts stolen).
4. Modern China’s Perspective –
(a) The Communist Party actively teaches this history, reinforcing the idea that China must never again be weak or exploited.
(b) The return of looted artifacts (sometimes through auctions, diplomacy, or shadowy purchases) is framed as a patriotic duty.
5. The Players –
(a) Chinese billionaires buying back stolen heritage as symbols of prestige.
(b) Triads and smugglers executing museum thefts.
(c) The PRC government, either directly orchestrating or tacitly approving, since little of consequence occurs without official sanction.
The takeaways from reading the book include ...
1. Art is Power – Cultural artifacts are not just beautiful objects; they are symbols of identity and political strength. Control over them reflects power dynamics between nations.
2. History Shapes the Present – The memory of the Opium Wars and the looting of Yuanmingyuan still fuels China’s policies, nationalism, and even clandestine activities today.
3. Blurred Lines of Legitimacy – The book challenges readers to consider: when objects were stolen under colonial conquest, who is the real thief today—the one reclaiming them illegally, or the museums still displaying them?
4. Geopolitics of Museums – Western museums often resist returning artifacts, citing law and preservation. But China’s hunger for cultural restitution shows how global politics, crime, and art markets intersect.
5. Unfinished Story – The heists are ongoing, and the author warns they may escalate, especially in Europe and the U.S., as China grows bolder in asserting its cultural claims.
He argues that these modern heists are more than ordinary crime: they are tied to China’s national memory of humiliation, its current cultural revival, and even state-driven efforts to reclaim heritage. By connecting the thefts to China’s political climate and the resurgence of nationalism, he highlights how art theft becomes entangled with identity, history, and power.
The book weaves together investigative reporting, historical research and expert testimony covering the following ...
1. The Heists – Detailed accounts of museum break-ins (e.g., Drottningholm Palace in Sweden, Fontainebleau in France) where thieves targeted only Chinese treasures, often using professional, military-style tactics.
2. Patterns & Suspicions – The precision suggested inside knowledge and possible involvement of Chinese organized crime (triads) and state-linked conglomerates such as China Poly Group (with ties to the PLA and intelligence services).
3. Historical Backdrop -
(a) The destruction and looting of the Old Summer Palace in 1860 during the Second Opium War is presented as the original art heist against China, symbolizing the “Century of Humiliation.”
(b) First-hand accounts, including Victor Hugo’s lament and British officers’ reports, underline the magnitude of the cultural loss (over a million artifacts stolen).
4. Modern China’s Perspective –
(a) The Communist Party actively teaches this history, reinforcing the idea that China must never again be weak or exploited.
(b) The return of looted artifacts (sometimes through auctions, diplomacy, or shadowy purchases) is framed as a patriotic duty.
5. The Players –
(a) Chinese billionaires buying back stolen heritage as symbols of prestige.
(b) Triads and smugglers executing museum thefts.
(c) The PRC government, either directly orchestrating or tacitly approving, since little of consequence occurs without official sanction.
The takeaways from reading the book include ...
1. Art is Power – Cultural artifacts are not just beautiful objects; they are symbols of identity and political strength. Control over them reflects power dynamics between nations.
2. History Shapes the Present – The memory of the Opium Wars and the looting of Yuanmingyuan still fuels China’s policies, nationalism, and even clandestine activities today.
3. Blurred Lines of Legitimacy – The book challenges readers to consider: when objects were stolen under colonial conquest, who is the real thief today—the one reclaiming them illegally, or the museums still displaying them?
4. Geopolitics of Museums – Western museums often resist returning artifacts, citing law and preservation. But China’s hunger for cultural restitution shows how global politics, crime, and art markets intersect.
5. Unfinished Story – The heists are ongoing, and the author warns they may escalate, especially in Europe and the U.S., as China grows bolder in asserting its cultural claims.
November 2, 2025
overall not my cup of tea but also felt pretty disjointed throughout ALSO what is up with all the fake people reviewing this book wtf
October 5, 2025
This book reads like an essay where the student did a lot of research but can't quite focus on their topic.
To be fair, some of that might be marketing; it's billed as a "riveting work of true crime", but it's actually a meandering discussion of history and culture and politics. There's very little about the actual art thefts. This isn't necessarily a bad thing, but it's not what I expected.
But there were other things that made it feel that way. There were A LOT of quotes. Citing sources is all well and good, but at times this seemed more like a collection of other people's thoughts than research digested into the author's own words.
There were many moments of weird repetition or awkward phrasing. And some straight up contradictions. At one point, twelve boxes of Greek antiques are loaded onto a ship, and in the next paragraph, it's sixteen boxes. Mistakes happen, but there was enough of this sort of thing that I'm not filled with confidence on the reliability of the details overall.
But all that being said, it was still tolerably interesting, and listening to almost half the audiobook helped keep me from losing my mind during an incredibly annoying day. I wouldn't particularly recommend it, but I'm not sorry I read it.
To be fair, some of that might be marketing; it's billed as a "riveting work of true crime", but it's actually a meandering discussion of history and culture and politics. There's very little about the actual art thefts. This isn't necessarily a bad thing, but it's not what I expected.
But there were other things that made it feel that way. There were A LOT of quotes. Citing sources is all well and good, but at times this seemed more like a collection of other people's thoughts than research digested into the author's own words.
There were many moments of weird repetition or awkward phrasing. And some straight up contradictions. At one point, twelve boxes of Greek antiques are loaded onto a ship, and in the next paragraph, it's sixteen boxes. Mistakes happen, but there was enough of this sort of thing that I'm not filled with confidence on the reliability of the details overall.
But all that being said, it was still tolerably interesting, and listening to almost half the audiobook helped keep me from losing my mind during an incredibly annoying day. I wouldn't particularly recommend it, but I'm not sorry I read it.
August 31, 2025
As someone who enjoys both true crime and historical nonfiction, this book was a perfect storm for me. Ralph Pezzullo takes on a massive and sensitive topic how cultural treasures from China were looted and displaced over the past two centuries and tackles it with intelligence, nuance, and even suspense. I appreciated that this wasn’t just a dry recounting of events. The narrative is lively and full of fascinating characters, from 19th-century colonial generals to present-day museum curators and international investigators.
The modern-day art heists are wild. One moment I felt like I was reading about a Hollywood action movie, and the next I was learning about the Opium Wars, the devastating sacking of the Old Summer Palace, and how the echoes of that era are still felt in Chinese nationalism today. It’s rare to find a book that can educate you on colonial history, organized crime, and the black-market art world all at once, but this one pulls it off brilliantly.
Pezzullo doesn’t sensationalize the crimes, which I appreciated. He handles the material with a journalist’s eye for detail and a historian’s respect for context. At the same time, he keeps you turning the pages. I came away from this book with a deeper understanding of why cultural artifacts matter so much and how power and history are written not just in books, but in the objects we steal, keep, and reclaim.
A truly memorable read.
The modern-day art heists are wild. One moment I felt like I was reading about a Hollywood action movie, and the next I was learning about the Opium Wars, the devastating sacking of the Old Summer Palace, and how the echoes of that era are still felt in Chinese nationalism today. It’s rare to find a book that can educate you on colonial history, organized crime, and the black-market art world all at once, but this one pulls it off brilliantly.
Pezzullo doesn’t sensationalize the crimes, which I appreciated. He handles the material with a journalist’s eye for detail and a historian’s respect for context. At the same time, he keeps you turning the pages. I came away from this book with a deeper understanding of why cultural artifacts matter so much and how power and history are written not just in books, but in the objects we steal, keep, and reclaim.
A truly memorable read.
August 31, 2025
Ralph Pezzullo’s The Great Chinese Art Heist is one of the most eye-opening books I’ve read this year. What starts as an account of a string of daring museum heists across Europe quickly unravels into a deep and compelling investigation into the legacy of imperialism, cultural identity, and the murky world of art crime. I had no idea how many priceless Chinese artifacts had been stolen or looted during the 19th century, let alone how those events continue to shape the geopolitical tensions and black-market dealings of today.
Pezzullo masterfully connects the past and present, weaving in voices from art experts, museum officials, and even law enforcement figures who have tracked these thefts. The pacing is excellent: the narrative is fast and gripping, but it never sacrifices depth. What struck me most was the emotional undercurrent of loss and injustice, especially from the Chinese perspective. It really makes you reflect on how objects that fill Western museums often carry a dark history.
This is not just a book about stolen art. It’s about memory, power, and the question of who truly owns history. Whether you're into history, crime thrillers, or international affairs, this book has something for you. A fascinating, important read.
Pezzullo masterfully connects the past and present, weaving in voices from art experts, museum officials, and even law enforcement figures who have tracked these thefts. The pacing is excellent: the narrative is fast and gripping, but it never sacrifices depth. What struck me most was the emotional undercurrent of loss and injustice, especially from the Chinese perspective. It really makes you reflect on how objects that fill Western museums often carry a dark history.
This is not just a book about stolen art. It’s about memory, power, and the question of who truly owns history. Whether you're into history, crime thrillers, or international affairs, this book has something for you. A fascinating, important read.
August 31, 2025
This book reads like an international thriller but the most chilling part is that it’s all true. The Great Chinese Art Heist is a gripping account of a series of museum robberies targeting rare Chinese antiquities, but it’s also so much more than that. Ralph Pezzullo does an incredible job unpacking the centuries of history behind these crimes, going all the way back to the British and French looting of Beijing's Old Summer Palace in 1860.
The pacing is pitch-perfect, and I was constantly amazed by how much ground the book covers. You learn about art trafficking networks, the role of ultra-wealthy collectors (some with political motives), and how international organized crime syndicates operate beneath the radar. But you also get a sense of the cultural trauma caused by colonial plunder and how modern China still grapples with this legacy.
What really stayed with me was the moral complexity Pezzullo explores. Who gets to decide where art belongs? Can something stolen 150 years ago ever truly be returned or redeemed? The book doesn’t pretend to have all the answers, but it invites the reader into the questions in a thoughtful, balanced way.
Highly recommend this to readers interested in art, history, or international intrigue. It’s both entertaining and enlightening.
The pacing is pitch-perfect, and I was constantly amazed by how much ground the book covers. You learn about art trafficking networks, the role of ultra-wealthy collectors (some with political motives), and how international organized crime syndicates operate beneath the radar. But you also get a sense of the cultural trauma caused by colonial plunder and how modern China still grapples with this legacy.
What really stayed with me was the moral complexity Pezzullo explores. Who gets to decide where art belongs? Can something stolen 150 years ago ever truly be returned or redeemed? The book doesn’t pretend to have all the answers, but it invites the reader into the questions in a thoughtful, balanced way.
Highly recommend this to readers interested in art, history, or international intrigue. It’s both entertaining and enlightening.
September 2, 2025
I picked this book up because I’ve always been intrigued by art heists, and I expected a fun, fast-paced true crime story. What I didn’t expect was to get pulled into this sweeping, deeply human history lesson that spans from the 19th century to the present day. The way Pezzullo links the looting of the Old Summer Palace in 1860 to modern thefts at major European museums is incredible. It makes you realize these crimes aren’t random at all, they’re tied to unresolved wounds of the past. I had chills reading about the “Century of Humiliation” and how it still echoes in China’s identity today.
What really impressed me is how the book never feels dry. It’s history, yes, but it reads like a thriller. When he described the masked men in Norway rappelling down from a glass ceiling just a few blocks from the police station, I felt like I was watching a movie scene. And then you stop and realize it really happened. The tension between the thrilling crime story and the very real pain of cultural theft makes this book unforgettable. It’s both entertaining and sobering, which is not an easy balance to strike. Highly recommend for anyone who loves history, crime, or just a really well-told true story.
What really impressed me is how the book never feels dry. It’s history, yes, but it reads like a thriller. When he described the masked men in Norway rappelling down from a glass ceiling just a few blocks from the police station, I felt like I was watching a movie scene. And then you stop and realize it really happened. The tension between the thrilling crime story and the very real pain of cultural theft makes this book unforgettable. It’s both entertaining and sobering, which is not an easy balance to strike. Highly recommend for anyone who loves history, crime, or just a really well-told true story.
September 6, 2025
From the opening chapter, The Great Chinese Art Heist pulls you into a world of mystery, danger, and intrigue. The descriptions of the modern-day heists: masked thieves rappelling down glass ceilings, slipping past cutting-edge security, and vanishing with priceless artifacts are as gripping as anything out of a Hollywood thriller. But the deeper you read, the more you realize this is about so much more than theft.
Pezzullo connects these daring robberies to the looting of Beijing’s Old Summer Palace in 1860, revealing how imperialism’s wounds continue to shape the present. The treasures stolen nearly two centuries ago are still caught in a tug-of-war involving billionaire collectors, organized crime rings, and even governments.
What I love most about the book is how seamlessly it blends suspense with depth. It’s entertaining, yes but it’s also a thoughtful exploration of heritage, ownership, and justice. By the end, I wasn’t just fascinated by the heists themselves; I was reflecting on what these artifacts mean to the people and cultures they were taken from.
It’s rare to find a nonfiction book that thrills you while also making you think. Pezzullo has managed to do both beautifully.
Pezzullo connects these daring robberies to the looting of Beijing’s Old Summer Palace in 1860, revealing how imperialism’s wounds continue to shape the present. The treasures stolen nearly two centuries ago are still caught in a tug-of-war involving billionaire collectors, organized crime rings, and even governments.
What I love most about the book is how seamlessly it blends suspense with depth. It’s entertaining, yes but it’s also a thoughtful exploration of heritage, ownership, and justice. By the end, I wasn’t just fascinated by the heists themselves; I was reflecting on what these artifacts mean to the people and cultures they were taken from.
It’s rare to find a nonfiction book that thrills you while also making you think. Pezzullo has managed to do both beautifully.
September 2, 2025
This book hit me in a way I wasn’t expecting. On the surface, it’s about stolen artifacts, international crime rings, and big, cinematic heists. But underneath, it’s about memory, dignity, and the ongoing consequences of colonialism. Reading about the Old Summer Palace being sacked by British and French troops nearly two centuries ago, and then seeing how those stolen treasures keep resurfacing in museum cases or on the black market, it honestly broke my heart. It made me question things I’ve always taken for granted when visiting museums in Europe. How many of these “masterpieces” are really just trophies of conquest?
I also appreciated how the book gives voice to a variety of perspectives: Chinese officials, curators, art experts, even investigators. It doesn’t come across as one sided propaganda, but as a complex conversation about ownership, justice, and power. And yet, it never loses its momentum. The heists themselves are fascinating, but the deeper narrative is what makes this special. For me, it was one of those books that lingers in your mind for days after you’ve finished.
I also appreciated how the book gives voice to a variety of perspectives: Chinese officials, curators, art experts, even investigators. It doesn’t come across as one sided propaganda, but as a complex conversation about ownership, justice, and power. And yet, it never loses its momentum. The heists themselves are fascinating, but the deeper narrative is what makes this special. For me, it was one of those books that lingers in your mind for days after you’ve finished.
Read
September 2, 2025This is one of those books that sneaks up on you. At first it feels like a high-octane crime story slick museum robberies, masked thieves, priceless antiques whisked away under the noses of guards. And it is that. But slowly, as the story unfolds, you realize you’re reading about something much bigger. You’re reading about the scars of empire, the politics of memory, and the way history refuses to stay buried.
I was especially moved by the sections on the Old Summer Palace. I had read about it in passing before, but never really grasped the scale of destruction and theft that happened there. The fact that those same treasures are at the heart of modern crime rings, tied to billionaires and cartels, makes the story feel almost surreal. And yet, Pezzullo keeps it grounded, always reminding us that behind the drama are real wounds and real questions of justice.
It’s rare to find a nonfiction book that is this entertaining and this important at the same time. I’ll be recommending it to everyone I know: history buffs, true crime fans, even people who just enjoy a well told story. Because ultimately, that’s what this is: an unforgettable story, told with skill and care.
I was especially moved by the sections on the Old Summer Palace. I had read about it in passing before, but never really grasped the scale of destruction and theft that happened there. The fact that those same treasures are at the heart of modern crime rings, tied to billionaires and cartels, makes the story feel almost surreal. And yet, Pezzullo keeps it grounded, always reminding us that behind the drama are real wounds and real questions of justice.
It’s rare to find a nonfiction book that is this entertaining and this important at the same time. I’ll be recommending it to everyone I know: history buffs, true crime fans, even people who just enjoy a well told story. Because ultimately, that’s what this is: an unforgettable story, told with skill and care.
September 1, 2025
As an art historian, I’m usually skeptical when I pick up books about art crime, since they can easily prioritize sensationalism over substance. But Ralph Pezzullo’s The Great Chinese Art Heist impressed me from start to finish. He manages to capture the excitement of modern museum robberies while still grounding the narrative in rigorous historical research. His treatment of the 1860 looting of the Old Summer Palace is both sensitive and contextual, reminding readers that art is never divorced from politics and power.
What stood out to me was the way Pezzullo connects past and present, the arrogance of colonial plunder and the precision of modern-day heists. He refuses to flatten the complexities of cultural restitution into easy soundbites, instead offering a nuanced exploration of ownership, memory, and justice. This is the kind of book that I could easily assign to students, not only because it is accessible and engaging, but also because it sparks exactly the kind of critical questions we should all be asking about cultural heritage.
What stood out to me was the way Pezzullo connects past and present, the arrogance of colonial plunder and the precision of modern-day heists. He refuses to flatten the complexities of cultural restitution into easy soundbites, instead offering a nuanced exploration of ownership, memory, and justice. This is the kind of book that I could easily assign to students, not only because it is accessible and engaging, but also because it sparks exactly the kind of critical questions we should all be asking about cultural heritage.
September 2, 2025
I’ve read a lot of true crime, but this stands out as one of the most original takes on the genre. Instead of focusing on murders or scams, it explores high-stakes art theft with all the danger and drama you’d expect but also layers in a much bigger story about history and cultural memory. It’s a reminder that crime doesn’t happen in a vacuum; it’s often connected to old injustices that never healed.
I loved the pacing. The first few chapters drop you straight into the action of these audacious museum robberies, and just when you’re hooked, the book pulls you back into the 19th century to show you why these artifacts matter so much. That back-and-forth works beautifully. And Pezzullo writes in a way that’s accessible but also deeply informed you never feel lost in jargon.
This is the kind of nonfiction that makes you see the world differently. Next time I walk into a museum and admire a “treasure” from another culture, I’ll be wondering what story lies behind the glass. And that, to me, is the mark of a powerful book.
I loved the pacing. The first few chapters drop you straight into the action of these audacious museum robberies, and just when you’re hooked, the book pulls you back into the 19th century to show you why these artifacts matter so much. That back-and-forth works beautifully. And Pezzullo writes in a way that’s accessible but also deeply informed you never feel lost in jargon.
This is the kind of nonfiction that makes you see the world differently. Next time I walk into a museum and admire a “treasure” from another culture, I’ll be wondering what story lies behind the glass. And that, to me, is the mark of a powerful book.
October 10, 2025
Ralph Pezzullo delivers an absolutely mesmerizing read in The Great Chinese Art Heist. From the very first chapter, I was pulled into a world where history, art, and crime intersect in ways more thrilling than fiction. Pezzullo’s narrative brilliance lies in how he connects the 19th century looting of the Old Summer Palace with the sleek, high-tech heists of today. His deep research and riveting storytelling expose a hidden web of power, greed, and cultural loss that continues to shape global relations.
What impressed me most was the author’s ability to humanize every side of the story: the collectors, the curators, and even the thieves. It’s both a heart-wrenching and illuminating journey through centuries of cultural appropriation. A must-read for anyone interested in art, history, or global politics. Pezzullo doesn’t just tell a story, he redefines how we understand cultural heritage.
What impressed me most was the author’s ability to humanize every side of the story: the collectors, the curators, and even the thieves. It’s both a heart-wrenching and illuminating journey through centuries of cultural appropriation. A must-read for anyone interested in art, history, or global politics. Pezzullo doesn’t just tell a story, he redefines how we understand cultural heritage.
January 9, 2026
Feels like a rushed school report that abruptly ends in extremely tenuous conclusions. Extremely disjointed, jumping between topics that are only partially relevant to the original subject matter. Multiple repeated sentences/paragraphs that show poor editing.
I was expecting an exciting tale of art theft, but very little of this book has to do with that; there is not much more detail on the mentioned cases than you could read from a few articles, and there's no satisfying ending.
The second-to-last chapter jumps to reactionary claims that Triad fentanyl production is the CCP trying to poison the U.S.; that China, Venezuela and Iran rig American elections; and so on. This is the author, with zero sense of irony, repeating the kind of heavy-handed nationalistic propaganda that he accuses China of.
If you were considering this book because of its title and cover, just do a quick search on the break-ins at Fontainebleau, Adrien Dubouche National Museum etc. instead
I was expecting an exciting tale of art theft, but very little of this book has to do with that; there is not much more detail on the mentioned cases than you could read from a few articles, and there's no satisfying ending.
The second-to-last chapter jumps to reactionary claims that Triad fentanyl production is the CCP trying to poison the U.S.; that China, Venezuela and Iran rig American elections; and so on. This is the author, with zero sense of irony, repeating the kind of heavy-handed nationalistic propaganda that he accuses China of.
If you were considering this book because of its title and cover, just do a quick search on the break-ins at Fontainebleau, Adrien Dubouche National Museum etc. instead
September 6, 2025
This book is far more than a true-crime account, it’s a meditation on memory and cultural identity. Pezzullo transports us from the ruins of the Old Summer Palace to the modern art world, where stolen relics now sit in museums, private collections, and secret vaults.
The daring heists described feel like scenes from a thriller, but their roots run deep in China’s “Century of Humiliation.” Pezzullo captures the lingering grief behind these artifacts while revealing how organized crime, billionaires, and even states vie for them today.
I loved the balance in his approach. He presents diverse voices and perspectives without forcing conclusions, allowing us to sit with the ethical dilemmas: Should art remain where it’s displayed, or must it be returned? Who gets to decide?
A fascinating, layered read that reshapes how you see museums, heritage, and justice.
The daring heists described feel like scenes from a thriller, but their roots run deep in China’s “Century of Humiliation.” Pezzullo captures the lingering grief behind these artifacts while revealing how organized crime, billionaires, and even states vie for them today.
I loved the balance in his approach. He presents diverse voices and perspectives without forcing conclusions, allowing us to sit with the ethical dilemmas: Should art remain where it’s displayed, or must it be returned? Who gets to decide?
A fascinating, layered read that reshapes how you see museums, heritage, and justice.
September 7, 2025
Pezzullo has crafted a narrative that feels almost too unbelievable to be true yet it’s all meticulously documented and chillingly real. The Great Chinese Art Heist is equal parts investigative journalism, historical analysis, and geopolitical commentary. It reads like a Dan Brown novel, but the villains aren’t fictional, they’re part of a system that has operated unchecked for centuries. I was especially impressed by how Pezzullo humanizes all sides of the story: from the Chinese officials seeking restitution to European curators navigating a minefield of ethical dilemmas, to the shadowy crime syndicates pulling strings in the background. This book doesn’t just inform, it ignites a fire of inquiry and passion for cultural truth. Easily one of the best nonfiction books I’ve read this year.
October 8, 2025
An intriguing dive into a string of modern museum thefts that trace their origins back to the 19th-century looting of Beijing’s Old Summer Palace. With journalistic precision, Pezzullo documents each daring heist and draws a plausible line between colonial plunder and contemporary power politics, even as the jury remains out on how directly the Chinese government may be involved. His ability to distill centuries of Chinese history into accessible, vivid storytelling is impressive, though at times these historical digressions feel only loosely connected to the thefts themselves. What truly stands out is Pezzullo’s courage in acknowledging China’s legitimate claim to its stolen treasures while unflinchingly critiquing the nation’s modern-day ambitions and geopolitical behavior. Definitely recommend!
September 7, 2025
From the very first chapter, The Great Chinese Art Heist explodes with intrigue and cinematic tension. Pezzullo’s descriptions of masked men rappelling into museums feel like scenes from a Hollywood blockbuster, yet the stakes here are real and sobering. He doesn’t just glorify the heists; he dissects them, revealing a tangled web of organized crime, national pride, and the lingering trauma of colonialism. The book brilliantly juxtaposes the audacity of modern-day criminals with the quiet complicity of institutions that have profited from historical theft. As a reader, I was entertained, yes but also deeply educated about a past I hadn’t considered closely. It’s a must-read for anyone who enjoys history served with a dose of adrenaline.
September 7, 2025
Reading The Great Chinese Art Heist felt like peeling back centuries of denial and indifference toward cultural theft. Pezzullo doesn’t just chronicle museum break-ins, he constructs a comprehensive narrative that highlights the hypocrisy of Western museums still housing stolen artifacts while pointing fingers at modern thieves. What makes this book stand out is its ability to challenge readers: Who really owns culture? Are modern-day heists more morally ambiguous than we admit? Pezzullo balances rigorous research with vivid storytelling, giving voice to curators, experts, and even law enforcement figures, while never losing sight of the Chinese perspective. This book will stay with me for a long time thought-provoking and timely.
October 10, 2025
This book is pure storytelling brilliance. The Great Chinese Art Heist manages to be thrilling, educational, and deeply emotional all at once. Pezzullo seamlessly moves from the plundering of Beijing’s Old Summer Palace in 1860 to the meticulously orchestrated museum thefts of recent years, weaving together centuries of injustice and intrigue.
Every chapter reads like a movie scene: vivid, suspenseful, and utterly gripping. Yet beneath the drama lies a serious examination of imperialism, restitution, and identity. Pezzullo’s gift is in showing how stolen art carries stolen history, and how nations still bear the scars of colonial greed. This isn’t just a book, it’s an awakening. I closed it feeling enlightened, outraged, and profoundly moved.
Every chapter reads like a movie scene: vivid, suspenseful, and utterly gripping. Yet beneath the drama lies a serious examination of imperialism, restitution, and identity. Pezzullo’s gift is in showing how stolen art carries stolen history, and how nations still bear the scars of colonial greed. This isn’t just a book, it’s an awakening. I closed it feeling enlightened, outraged, and profoundly moved.
October 10, 2025
Few authors can turn complex historical realities into a page-turner that feels as immediate as breaking news, but Ralph Pezzullo does exactly that. The Great Chinese Art Heist is both a global detective story and a poignant exploration of how the past continues to haunt the present.
Pezzullo writes with precision and empathy, guiding readers from royal palaces in Europe to shadowy underworld deals and back to the heart of China’s cultural soul. His portrayal of the “Century of Humiliation” and its lasting wounds is handled with great sensitivity and insight. I was amazed by how much I learned about art crime, geopolitics, and the value of cultural memory without ever feeling lectured. It’s a rare book that both informs and entertains at this level.
Pezzullo writes with precision and empathy, guiding readers from royal palaces in Europe to shadowy underworld deals and back to the heart of China’s cultural soul. His portrayal of the “Century of Humiliation” and its lasting wounds is handled with great sensitivity and insight. I was amazed by how much I learned about art crime, geopolitics, and the value of cultural memory without ever feeling lectured. It’s a rare book that both informs and entertains at this level.
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October 10, 2025Reading The Great Chinese Art Heist felt like stepping into an expertly crafted historical thriller except it’s all real. Pezzullo captures the audacity of modern art thefts with cinematic detail while peeling back layers of political betrayal and cultural devastation that began over 150 years ago.
What makes this book so powerful is the balance: it’s meticulously researched yet deeply personal, global in scope yet intimate in emotion. The interviews with art crime experts and museum officials add authenticity and depth, while Pezzullo’s writing style keeps the narrative fluid and alive. By the end, I couldn’t stop thinking about what ownership, justice, and cultural legacy truly mean. This is easily one of the most compelling nonfiction books of the year.
What makes this book so powerful is the balance: it’s meticulously researched yet deeply personal, global in scope yet intimate in emotion. The interviews with art crime experts and museum officials add authenticity and depth, while Pezzullo’s writing style keeps the narrative fluid and alive. By the end, I couldn’t stop thinking about what ownership, justice, and cultural legacy truly mean. This is easily one of the most compelling nonfiction books of the year.
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October 10, 2025The Great Chinese Art Heist is an extraordinary achievement of equal parts investigative journalism, historical analysis, and gripping storytelling. Ralph Pezzullo takes a subject that could have been purely academic and transforms it into a deeply human drama spanning continents and centuries.
The connections he draws between colonial theft, organized crime, and modern power structures are eye-opening and thought-provoking. The narrative flows effortlessly, and Pezzullo’s prose has both elegance and urgency. This is not just about stolen treasures; it’s about how history itself can be looted, hidden, and reclaimed. A remarkable book that challenges, educates, and captivates in equal measure.
The connections he draws between colonial theft, organized crime, and modern power structures are eye-opening and thought-provoking. The narrative flows effortlessly, and Pezzullo’s prose has both elegance and urgency. This is not just about stolen treasures; it’s about how history itself can be looted, hidden, and reclaimed. A remarkable book that challenges, educates, and captivates in equal measure.
July 18, 2025
This is an exploration in recent years of break-ins that have taken place around the world after individuals or groups of individuals are breaking into museum and stealing Chinese artifacts. It goes behind the scenes and discusses who maybe behind or at least financing these operations for one to bring these artifacts back to China and in turn these wealthy individuals are gaining favor the with Chinese Government. The author goes into great deal on the history of China and a stretch of time the Chinese call the Century of Humiliation. Starting when the British were looking to open trade routes, because of having a large trade imbalance they started to change the tide by being a group of drug traffickers when they started to import opium into China. The amount of opium that they import grows to massive quantities. It is estimated by 1830 40 million Chinese people were addicted to opium and when Chinese leaders attempted to squash the import and use of opium which cause England to wage war and in particular the opium war on China and when they would win these wars, they would gain land how they ended up with Hong Kong on a 99 year lease, more trade routes and bring in more and more opium. The author goes on to talk about the pillaging of and ultimate destruction of the massive summer palace. When it is said and done there is a belief that over one and half million artifacts were stolen and what was not stolen was smashed up and the palace burned to the ground. Many of the artifacts that now are being stolen back were the same ones stolen from the from the Summer Palace. England was not the only country to pillage China during the century of humiliation there were also the Japanese who committed atrocities on the level of Hitler on the Jewish people. It is interesting the Chinese pointing out the hypocrisy of the western civilization demanding that art stolen by the Germans during Hitlers reign but refusing to do the same thing when it comes to the return of Chinese art. It was interesting to read about the efforts of the Chinese leader's plan called the Four Pest Campaign and in particular the efforts to eradicate the sparrow and when they did what the repercussions were. This is a great read about chinese history even though at times it gets a little dry. I would definitely recommend this book.
July 19, 2025
This was a “Book of the Month” choice from my local bookstore and when it arrived I did a “meh” and set it aside. Not my jam.
Then I decided to give it a shot and I’m so glad I did because it’s one of the most interesting books I’ve ever read. I knew absolutely nothing about Chinese Art or history or what the Opium Wars actually were. Is that just me? Can I admit that publicly? ‘Cause it feels embarrassing but for the love is it ever fascinating.
So if you’re dumb like me I’d highly recommend. I suspect even if you know you some stuff it would probably still be worth the read. Loved the writing. Loved the content. Learned me all the things - 5 🌟 all around.
Then I decided to give it a shot and I’m so glad I did because it’s one of the most interesting books I’ve ever read. I knew absolutely nothing about Chinese Art or history or what the Opium Wars actually were. Is that just me? Can I admit that publicly? ‘Cause it feels embarrassing but for the love is it ever fascinating.
So if you’re dumb like me I’d highly recommend. I suspect even if you know you some stuff it would probably still be worth the read. Loved the writing. Loved the content. Learned me all the things - 5 🌟 all around.
September 6, 2025
Ralph Pezzullo has written a gripping, layered narrative that’s part history, part true crime, and part cultural reckoning. The Great Chinese Art Heist pulled me into a world where stolen artifacts, colonial wounds, and modern-day criminal networks collide in startling ways. I was fascinated by how Pezzullo connects the 1860 sacking of the Old Summer Palace to a series of sophisticated heists happening today. It’s not just about stolen treasures, it’s about stolen identity, lingering imperialism, and the moral ambiguity of art ownership. For anyone interested in history’s shadow on the present, this is unmissable.
September 7, 2025
Ralph Pezzullo takes readers on an unforgettable journey that reveals the murky underworld beneath the glossy façade of museums and high-end auctions. The Great Chinese Art Heist is not only a compelling true crime saga, it’s an indictment of a global system that has long prioritized wealth and prestige over ethical accountability. What makes this book so powerful is its refusal to shy away from uncomfortable truths. The story of the Old Summer Palace isn’t just history, it’s a wound that’s still bleeding in the Chinese psyche, and Pezzullo respects that emotional gravity. In a world where museums are finally being asked to answer for their past, this book is both timely and necessary.
September 7, 2025
What struck me most about The Great Chinese Art Heist is how it reframes the concept of art not as an object of beauty, but as a symbol of national identity, power, and memory. Pezzullo dives headfirst into the ethical quicksand of cultural restitution, connecting 19th-century imperialism with 21st-century geopolitics. The research is impeccable, the pace brisk, and the storytelling immersive. I found myself constantly Googling artifacts, locations, and historical events just to follow the intricate threads he weaves together. This isn’t just a book for true crime fans, it’s essential reading for anyone who cares about cultural justice and the politics of memory.
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