A decades-long search for a missing Jackson Pollock painting, 'Painting 1028,' 1948, continues after two other stolen works by the acclaimed artist were recovered. The artworks were taken from the Cambridge, Massachusetts, home of Reginald and Charlotte Isaacs in 1973, leaving a profound impact on the family and highlighting the rising value of modern art.
Key Takeaways
- Three Jackson Pollock paintings were stolen from the Isaacs family home in 1973.
- 'Number 7, 1951' was recovered in 1975 from a hotel room in Newton, Massachusetts.
- '21 (Drawing with poles),' 1949, was recovered in 1991 after being identified by a unique inscription.
- 'Painting 1028,' 1948, remains missing, potentially valued at up to $20 million.
- The thefts caused significant emotional and financial distress for the Isaacs family.
The Theft That Shook a Family
On November 8, 1973, thieves broke into the Cambridge apartment of Reginald Isaacs, a Harvard professor, and his wife, Charlotte. They stole three paintings by Jackson Pollock, including 'Number 7, 1951,' '21 (Drawing with poles),' 1949, and 'Painting 1028,' 1948. The incident occurred while Isaacs was out rowing on the Charles River, a daily routine he used to manage anxiety.
The burglars likely gained entry when the day guard was away from her station. Witnesses described two tall, slim men putting paintings into a foreign-make car. The theft marked the beginning of a challenging period for the Isaacs family, particularly for Reginald, who was already dealing with professional pressures.
Fact: Art Market Surge
The 1970s saw a dramatic increase in the valuation of modern art. In 1973, Pollock's 'Blue Poles' sold for $1.3 million, a record for a contemporary American painting at the time, sparking public and criminal interest in the art market.
A Friendship Forged in Art
Reginald Isaacs had a unique relationship with Jackson Pollock, a friendship that began in the 1940s before Pollock achieved widespread fame. Isaacs, an architect and expert in regional planning, met Pollock during a clamming trip in East Hampton, Long Island.
Initially unaware of Pollock's identity as an artist, Isaacs was deeply impressed by the paintings he saw in Pollock's studio. He became one of Pollock's early patrons, purchasing works for $10 to $20 a month, a crucial source of income for Pollock and his wife, Lee Krasner, during financially lean times.
Merry White, Isaacs's daughter, remembers Pollock as a volatile and often intoxicated presence during family visits to his home. She recalls feeling vulnerable and unprotected, despite her parents' pride in their friendship with the artist.
"Dad was always interested in proximity to fame," Merry White remembers. "He wore his proximity to Pollock like a medal."
One painting, 'Number 7, 1951,' hung over White's bed as a child. Its presence brought back uncomfortable memories for her, not only of the artist's temperament but also of the theft that later devastated her family.
The Long Road to Recovery
The first breakthrough in the case came in 1975, following a separate art theft from another Harvard professor, Stuart Cary Welch. A tip led police to Donald Smoot, a high-stakes gambler with connections to organized crime. Smoot offered to facilitate the return of Welch's stolen items for a reward.
During the trial for the Welch theft, Isaacs recognized one of the defendants, Daniel E. Levin, as someone he had seen near his apartment before the Pollock robbery. This recognition led to a crucial offer: leniency for the defendants if they provided information about the stolen Pollocks.
Two days later, police recovered 'Number 7, 1951' from a hotel room in Newton. The painting had been removed from its frame, rolled up, placed in a plastic trash bag, and buried. Isaacs confirmed its authenticity at the Cambridge police station.
Context: Jackson Pollock's Legacy
Jackson Pollock is considered one of the most significant American artists of the 20th century. His 'action painting' technique, involving dripping and flicking paint onto canvases laid on the floor, revolutionized modern art and influenced many artists who followed.
The Second Recovery and Lingering Pain
The second painting, '21 (Drawing with poles),' 1949, remained missing for much longer. It resurfaced in 1991 at Christie's auction house in New York. Initially deemed inauthentic by the Pollock Authentication Board due to a misread inscription, it was reconsidered two years later.
Authenticators realized the inscription read "To Reg and family," not "To Peg and family," a reference to Reginald Isaacs. An old photograph of the work in Pollock's studio further confirmed its authenticity. The painting was placed in FBI custody.
Sadly, Reginald Isaacs did not live to see the recovery of '21.' He died in 1986 from a heart attack, his peace of mind shattered by the theft and the subsequent legal battles. His daughter, Merry White, describes his struggle with migraines and anxiety, often losing his train of thought during lectures.
- 1973: Three Pollock paintings stolen from Isaacs's home.
- 1975: 'Number 7, 1951' recovered.
- 1986: Reginald Isaacs dies.
- 1991: '21 (Drawing with poles)' recovered.
The Final Missing Piece
Today, 'Painting 1028,' 1948, is the last of the three stolen Pollocks that remains missing. Its value could be as high as $20 million, depending on its condition, according to Eric Gleason of Olney Gleason, which represents Pollock's estate.
In 2014, hope emerged when a Homeland Security Investigations agent in Paris received a tip about an organization willing to return stolen artworks for compensation. This led to the recovery of Picasso's 'La Coiffeuse,' a cubist painting stolen in 2001.
The same source later contacted Homeland Security Investigations to arrange the return of the missing Pollock. However, after initial instructions, the source went silent, and no further leads developed. The painting remains unrecovered.
For Merry White, now a professor emerita of anthropology, the legacy of Pollock and the stolen art is complex. She inherited some of Pollock's belongings and recognizes the financial security the recovery of 'Painting 1028' could bring to her family.
Despite the emotional weight, White recently visited the Pollock-Krasner House and Studio in Springs, New York, for the first time in nearly 70 years. She found herself calm, observing the paint-splattered studio floor, a tangible trace of the artist who had so profoundly impacted her family's life.
The search for 'Painting 1028' continues, a symbol of both a family's enduring pain and the lasting allure of a challenging, influential artist.