Morland came out to find most of his profits had been lost. His old friends shunned him and the family firm went bust. So for the next thirty years he became a professional yachtsman-smuggler, plying his trade across the Mediterranean, shifting tons of hash, mixing with everyone from Berber tribesmen to gangland heavies, and alternating between periods of sudden wealth and bleak incarceration. In 1980, 1990 and again in 2000, he was caught and jailed for long terms. Now in his early eighties, he lives in “pretty good poverty” and teaches pottery. This is his amazing story.
Look, I've been shot at on three separate occasions, I've had guns on my head, I've had police chasing me... To survive I have been a chameleon. As you know, I speak many languages. Also, I'm not attached to anything. It's like living near a fault line-if you hear a noise, pack your things and get the fuck out of there. Don't become too accustomed to anything. I can sleep like a baby on a little field bed.
It is a very pretentious title, but yeah I was a big-time smuggler. I was very ambitious. It all started to get serious when I went to Russia after Beirut. In Russia the art smugglers all worked together so that they could have their claws in many different countries overseas. So if you were "in the game" and a promising prospect like I probably was and had contacts with one clan, you could have contacts with all the clans. I was involved in a big way because I knew all the people and could reach out to them. I could get to the countries behind the iron curtain. I was also dealing with VIPs. Don't think this was some kind of scumbag organization-we were dealing with people who were very high up on the political ladder. All you had to do was make sure everybody had his cut.
Thanks to the extraordinary value of art these days, supported by the need of the 1% to fill their homes with grand works, it is hardly surprising that criminals are attracted to this market. But let me suggest that current 3D printing technology may reduce the value of original art by allowing true “museum-quality” reproductions to be created at prices far below the cost of original or smuggled art, reducing the theft problem, while also allowing museums to expand their collections in an affordable way.
Indian Prime Minister Narendra Modi and Australian Prime Minister Tony Abbott talk alongside a statue of the Dancing Shiva ahead of a meeting in New Delhi, 5 September, 2014. The $5 million bronze statue was returned to India from the National Gallery of Australia after it emerged that it had been stolen from a Tamil Nadu temple. PRAKASH SINGH/AFP/Getty Images)
The India Pride Project, a volunteer group set up after the Indian governments’ shoddy investigations and lame attempts to bring back smuggled art treasures frustrated, has taken to social media and online activism. Over the last four years, this group has painstakingly built a volunteer sourced image archive of Indian art works now being housed in overseas museums and art auction houses.
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