The British Museum has roughly 8 million items in their collection; however, only about 80,000 items are on display at the same time. That means the other 7,920,000 are in collections. Many countries have requested those items for repatriation only to be denied by the museum. It is not hard to believe that the British Museum would not like it if someone stole some of their items and refused to give them back. Let’s dive in.<\/p>\n<\/div>\n<\/div>\n\n\n\n
The Boxes<\/strong><\/h2>\n\n\n\n\n\n\n![\"This](\"https:\/\/ac.nau.edu\/artcrime\/wp-content\/uploads\/2025\/04\/CA.jpg\")
Germany. 1726 – 1775. Case. Height: 5.9 centimeters. Gold, Mother-of-pearl, Silk. The British Museum, 1978,1002.758. https:\/\/www.britishmuseum.org\/collection\/object\/H_1978-1002-758<\/a>.<\/figcaption><\/figure>\n\n\n\nThe first box is labeled \u201ccase\u201d from an unknown artist from Germany between 1726 and 1775. It has an intricate gold and mother-of-pearl lid with a silk lining inside. One side of the box depicts a man with a flag in his right hand and a woman with a spear in her left hand; they are holding opposite hands.<\/p>\n<\/div>\n\n\n\n
\n![\"This](\"https:\/\/ac.nau.edu\/artcrime\/wp-content\/uploads\/2025\/04\/BO1.jpg\")
England. 1720-1730. Box. Height: 1.30 centimeters, Length: 7.10 centimeters long, Width: 5.40 centimeters. Gold. The British Museum, 1978,1002.759. https:\/\/www.britishmuseum.org\/collection\/object\/H_1978-1002-759<\/a>.<\/figcaption><\/figure>\n\n\n\nThe second gold box is labeled \u201cbox\u201d from an unknown artist from England between 1720 and 1730. It has a delicately engraved lid depicting two cupids playing in a garden surrounded by winged cupids and birds.<\/p>\n<\/div>\n\n\n\n
\n![\"This](\"https:\/\/ac.nau.edu\/artcrime\/wp-content\/uploads\/2025\/04\/BO2.jpg\")
England. 1740-1750. Box. Height: 2.20 centimeters, Length: 6.60 centimeters long, Width: 5.30 centimeters. Gold. The British Museum, 1978,1002.760. https:\/\/www.britishmuseum.org\/collection\/object\/H_1978-1002-760<\/a>.<\/figcaption><\/figure>\n\n\n\nThe third gold box is labeled \u201cbox\u201d from an unknown artist from England between 1740 and 1750. It has an engraved lid depicting a landscape scene and a cupid fishing.<\/p>\n<\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\nElite Europeans in the eighteenth century used boxes like these as containers for sweets or tobacco to show their status and good taste. They often gave them as luxury gifts that could convey secret meanings if displayed in specific ways. The widespread use of snuff boxes led to the creation of pockets in skirts and coats, as well as the implementation of handkerchiefs as an accessory, because of snuff-takers constant sneezing.\u00a0<\/p>\n<\/div>\n\n\n\n
\n\n![\"This](\"https:\/\/ac.nau.edu\/artcrime\/wp-content\/uploads\/2025\/04\/HG-1.webp\")
Anne Hull Grundy. The British Museum. https:\/\/www.britishmuseum.org\/about-us\/british-museum-story\/people-behind-collection\/anne-hull-grundy<\/a>.<\/figcaption><\/figure>\n<\/div>\n\n\n\n\nThese gold boxes are all from the same collector, Anne Hull Grundy, who lived from 1926 to 1984. Mrs. Grundy was a well-known collector and art historian whose collection consisted mainly of Victorian jewelry. However, it also included miniature sculptures, metalwork, silver and gold items, medals, and ceramics.<\/p>\n\n\n\n
Mrs. Grundy’s 1,200 piece donation \u201ctransformed the British Museum’s 17th-20th century European jewellery holdings at a stroke\u201d (Gere & Rudoe 81). The boxes also all came from the same previous owner, S.J. Phillips Ltd., an auction house in London.<\/p>\n<\/div>\n<\/div>\n\n\n\n
The following hypothetical plan to steal the three boxes is comprehensively based on research into art theft, the art market, museum security, and planned social interactions compelled by psychological studies. <\/strong><\/p>\n\n\n\n![\"This](\"https:\/\/ac.nau.edu\/artcrime\/wp-content\/uploads\/2025\/04\/MST-460-infographic-2-410x1024.jpg\")
<\/figure>\n\n\n\n<\/div>\n\n\n\n\n\n\n![\"This](\"https:\/\/ac.nau.edu\/artcrime\/wp-content\/uploads\/2025\/04\/BO3-1.jpg\")
Four Gold Boxes from Anne Hull Grundy’s Collection. The British Museum. https:\/\/www.britishmuseum.org\/collection\/object\/H_1978-1002-760?selectedImageId=300108001<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n\nThe Plan<\/strong><\/h2>\n\n\n\nI am a recent graduate with a Masters in Museum Studies. I am contacted by the great grandsons of Solomon Joel Phillips, who are now running S.J. Phillips Ltd. They want me to become an employee at the British Museum to steal three gold boxes that they believe belong to them. As an employee at the museum, it will be much easier for me to steal these boxes without anyone noticing that something strange, like a break-in, has happened.<\/p>\n\n\n\n
<\/div>\n\n\n\nWhile they do not specify any further plans regarding the boxes, they offer me 80 percent of the value of the boxes once they have them. As a graduate with student loans, I know this is reckless, but I take the offer in desperation; I need a job and I have bills to pay. <\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
\n\n\nThe first step is to apply for the Assistant Collection Manager position at the British Museum, which I have ample experience for from my educational background.<\/p>\n<\/div>\n\n\n\n
\n\n\nThe Hiring Process<\/strong><\/p>\n\n\n\nI will ace my interviews by playing into gender stereotypes. Employers make gender-based assumptions during the hiring process and research has found that high-achieving women will not get called back as much as high-achieving men. It is statistically better for women to have moderate achievements in order to be hired, which is how I will present myself.<\/p>\n\n\n\n
Another important stereotype is that attractive people have more desirable social traits, which is something that I believe I can use to my advantage during the hiring process and in the workplace.<\/p>\n<\/div>\n<\/div>\n\n\n\n
\n\nIn the Workplace<\/strong><\/p>\n\n\n\nI will begin the process of becoming liked by my managers, coworkers, and employees by opening up slowly, laughing at people’s jokes, smiling, remembering names, going to social events, and making friends. I will also begin a romantic relationship with one of the guards.<\/p>\n\n\n\n
One of the biggest setbacks to modern museum security is that staff are not thinking of security protocols everyday. I can use this to my advantage, because my coworkers will not be thinking of security and they will not suspect me. I will be able to get in and out due to my insider status, but I will need to learn the layout and security of the building before my theft. <\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
\n\nAfter a respectable amount of time, I will take the gold boxes one by one on different days to warrant less suspicion.<\/h2>\n<\/div>\n\n\n\n<\/div>\n\n\n\n\n\nBeing Cautious<\/h3>\n\n\n\n
I can replace the boxes at the museum with boxes from thrift stores that are similar enough to reduce the risk of being discovered. By stealing on the days my guard is working, I have an alibi in a trusted person of the museum.<\/p>\n<\/div>\n\n\n\n
\nThe Theft<\/h3>\n\n\n\n
I will remove the boxes using cotton, lint-free gloves and I will be familiar with my coworker\u2019s actions, so that no one else is in the room. Each box is less than 3 inches long, so they will not be too large to smuggle out of the museum in a small bag.<\/p>\n<\/div>\n\n\n\n
\nAfter The Theft<\/h3>\n\n\n\n
I plan to have discrete drop offs with the Solomon\u2019s, which will ensure that I am not in possession of the boxes for an extended period of time. Until they send me my cut of the profit, I will go back to work and act as if nothing has happened.<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\nThe Research<\/strong><\/h2>\n\n\n\n\n\u201c80 percent of art thefts involve insiders or accomplices that execute the crime over a period of time while working or volunteering in the museum\u201d (Michaud 32)<\/p>\n<\/blockquote>\n\n\n\n
In 2014, Dr. Peter Higgs, a curator at the British Museum, began stealing and selling more than 1,800 items on Ebay. A buyer recognized some of the pieces from the British Museum, which eventually led to the museum removing Higgs from his position.<\/p>\n\n\n\n
Unless someone is planning an upcoming exhibit, no one will be looking for these boxes. They are not on display for a current exhibit, which makes them easier to grab, and they are not in any catalogue available to the general public. These factors benefit the success of my theft immensely.<\/p>\n\n\n\n
Today, gold boxes are being sold at auction houses, such as Sotheby\u2019s and Christie\u2019s.<\/strong><\/p>\n\n\n\n\n\nIn 2018, Christie\u2019s held an auction for gold boxes that sold for up to $100,000 depending on the quality. The boxes were from the late eighteenth century to early nineteenth century, which is similar to the British Museum’s gold boxes.<\/p>\n<\/div>\n\n\n\n
\nIn 2022, Sotheby\u2019s held an auction for gold boxes from the eighteenth and nineteenth centuries. Sotheby\u2019s estimated the value of the gold boxes to range from $7,000 to $50,000. Considering that my gold boxes are detailed and ornate, I believe that they will fall on the higher end of these estimates, if not higher.<\/p>\n<\/div>\n<\/div>\n\n\n\n
\n\n\n\nThe art market has been significantly changed since the rise of modern art crime, and it can and will affect the outcome of my crime in potentially unpredictable ways. While the illegal art market might not provide as much profit as the legal art market, each of these boxes are ornate, intricate, and beautiful, which would still result in a large amount of money, which I estimate to be around $200,000 or more, for me.<\/p>\n\n\n\n
<\/div>\n\n\n\nWorks Cited<\/strong><\/p>\n\n\n\nAtkinson, Colin, et al. \u201c\u2018now that you mention it, museums probably are a target\u2019: Museums, terrorism and security in the United Kingdom.\u201d Museum Management and Curatorship<\/em>, vol. 35, no. 2, 5 Nov. 2019, pp. 109\u2013124, https:\/\/doi.org\/10.1080\/09647775.2019.1683881<\/a>. <\/p>\n\n\n\nFitz-Gibbon, Kate. \u201cDirty Details: British Museum Presses Case against Former Curator Peter Higgs – Cultural Property News.\u201d Cultural Property News – Cultural Property News<\/em>, 18 May 2024, https:\/\/culturalpropertynews.org\/dirty-details-british-museum-presses-case-against-former-curator-peter-higg\/<\/a>. <\/p>\n\n\n\nGere, Charlotte, and Judy Rudoe. \u201cKnowledge, Money and Time: Anne Hull Grundy as a Collector of Victorian Jewellery.\u201d The Journal of the Decorative Arts Society 1850 – the Present<\/em>, no. 24, 2000, pp. 80\u201397. JSTOR<\/em>, http:\/\/www.jstor.org\/stable\/41809299<\/a>. Accessed 25 Feb. 2025. <\/p>\n\n\n\nHeilman, Madeline E. \u201cGender stereotypes and workplace bias.\u201d Research in Organizational Behavior<\/em>, vol. 32, Jan. 2012, pp. 113\u2013135, https:\/\/doi.org\/10.1016\/j.riob.2012.11.003<\/a>.<\/p>\n\n\n\nIFSEC Insider. \u201cProtecting London #1: Safety and Security at The British Museum.\u201d YouTube<\/em>, YouTube, 2016, www.youtube.com\/watch?v=ZN4LsFfikA8<\/a>. <\/p>\n\n\n\nKila, Joris, and Marc Balcells, editors. Cultural Property Crime\u202f: An Overview and Analysis on Contemporary Perspectives and Trends<\/em>. 1st ed., Brill, 2015.<\/p>\n\n\n\nMichaud, Eric C. \u201cMuseum Security and the Thomas Crown Affair.\u201d Journal of Physical Security<\/em>, vol. 4, no. 1, Jan. 2010, pp. 31\u201335. EBSCOhost<\/em>, research.ebsco.com\/linkprocessor\/plink?id=d045cf89-174c-34ff-8897-6782adb7f031<\/a>. <\/p>\n\n\n\nQuadlin, Natasha. \u201cThe Mark of a Woman\u2019s Record: Gender and Academic Performance in Hiring.\u201d American Sociological Review<\/em>, vol. 83, no. 2, 2018, pp. 331\u201360, https:\/\/doi.org\/10.1177\/0003122418762291<\/a>. <\/p>\n\n\n\nShortland, Anja, and Andrew Shortland. \u201cGovernance under the Shadow of the Law: Trading High Value Fine Art.\u201d Public Choice<\/em>, vol. 184, no. 1\/2, 2020, pp. 157\u201374. JSTOR<\/em>, https:\/\/www.jstor.org\/stable\/48733686<\/a>. Accessed 25 Feb. 2025. <\/p>\n\n\n\nSnyder, Mark, et al. \u201cSocial Perception and Interpersonal Behavior: On the Self-Fulfilling Nature of Social Stereotypes.\u201d Journal of Personality and Social Psychology<\/em>, vol. 35, no. 9, 1977, pp. 656\u201366, https:\/\/doi.org\/10.1037\/0022-3514.35.9.656<\/a>. <\/p>\n\n\n\nSotheby\u2019s. \u201cGold Boxes, Faberg\u00e9 and Objects of Vertu.\u201d Sothebys.Com<\/em>, www.sothebys.com\/en\/digital-catalogues\/gold-boxes-faberge-and-objects-of-vertu<\/a>. Accessed 25 Feb. 2025. <\/p>\n\n\n\nThe British Museum. \u201cBox.\u201d The British Museum<\/em>. <\/a>https:\/\/www.britishmuseum.org\/collection\/object\/H_1978-1002-759<\/a>. <\/p>\n\n\n\nThe British Museum. \u201cBox.\u201d The British Museum<\/em>. <\/a>https:\/\/www.britishmuseum.org\/collection\/object\/H_1978-1002-760<\/a>. <\/p>\n\n\n\nThe British Museum. \u201cCase.\u201d The British Museum<\/em>. <\/a>https:\/\/www.britishmuseum.org\/collection\/object\/H_1978-1002-758<\/a>. <\/p>\n\n\n\n
The first box is labeled \u201ccase\u201d from an unknown artist from Germany between 1726 and 1775. It has an intricate gold and mother-of-pearl lid with a silk lining inside. One side of the box depicts a man with a flag in his right hand and a woman with a spear in her left hand; they are holding opposite hands.<\/p>\n<\/div>\n\n\n\n
The second gold box is labeled \u201cbox\u201d from an unknown artist from England between 1720 and 1730. It has a delicately engraved lid depicting two cupids playing in a garden surrounded by winged cupids and birds.<\/p>\n<\/div>\n\n\n\n
The third gold box is labeled \u201cbox\u201d from an unknown artist from England between 1740 and 1750. It has an engraved lid depicting a landscape scene and a cupid fishing.<\/p>\n<\/div>\n<\/div>\n\n\n\n
Elite Europeans in the eighteenth century used boxes like these as containers for sweets or tobacco to show their status and good taste. They often gave them as luxury gifts that could convey secret meanings if displayed in specific ways. The widespread use of snuff boxes led to the creation of pockets in skirts and coats, as well as the implementation of handkerchiefs as an accessory, because of snuff-takers constant sneezing.\u00a0<\/p>\n<\/div>\n\n\n\n
These gold boxes are all from the same collector, Anne Hull Grundy, who lived from 1926 to 1984. Mrs. Grundy was a well-known collector and art historian whose collection consisted mainly of Victorian jewelry. However, it also included miniature sculptures, metalwork, silver and gold items, medals, and ceramics.<\/p>\n\n\n\n
Mrs. Grundy’s 1,200 piece donation \u201ctransformed the British Museum’s 17th-20th century European jewellery holdings at a stroke\u201d (Gere & Rudoe 81). The boxes also all came from the same previous owner, S.J. Phillips Ltd., an auction house in London.<\/p>\n<\/div>\n<\/div>\n\n\n\n
The following hypothetical plan to steal the three boxes is comprehensively based on research into art theft, the art market, museum security, and planned social interactions compelled by psychological studies. <\/strong><\/p>\n\n\n\n I am a recent graduate with a Masters in Museum Studies. I am contacted by the great grandsons of Solomon Joel Phillips, who are now running S.J. Phillips Ltd. They want me to become an employee at the British Museum to steal three gold boxes that they believe belong to them. As an employee at the museum, it will be much easier for me to steal these boxes without anyone noticing that something strange, like a break-in, has happened.<\/p>\n\n\n\n While they do not specify any further plans regarding the boxes, they offer me 80 percent of the value of the boxes once they have them. As a graduate with student loans, I know this is reckless, but I take the offer in desperation; I need a job and I have bills to pay. <\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n The first step is to apply for the Assistant Collection Manager position at the British Museum, which I have ample experience for from my educational background.<\/p>\n<\/div>\n\n\n\n The Hiring Process<\/strong><\/p>\n\n\n\n I will ace my interviews by playing into gender stereotypes. Employers make gender-based assumptions during the hiring process and research has found that high-achieving women will not get called back as much as high-achieving men. It is statistically better for women to have moderate achievements in order to be hired, which is how I will present myself.<\/p>\n\n\n\n Another important stereotype is that attractive people have more desirable social traits, which is something that I believe I can use to my advantage during the hiring process and in the workplace.<\/p>\n<\/div>\n<\/div>\n\n\n\n In the Workplace<\/strong><\/p>\n\n\n\n I will begin the process of becoming liked by my managers, coworkers, and employees by opening up slowly, laughing at people’s jokes, smiling, remembering names, going to social events, and making friends. I will also begin a romantic relationship with one of the guards.<\/p>\n\n\n\n One of the biggest setbacks to modern museum security is that staff are not thinking of security protocols everyday. I can use this to my advantage, because my coworkers will not be thinking of security and they will not suspect me. I will be able to get in and out due to my insider status, but I will need to learn the layout and security of the building before my theft. <\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n I can replace the boxes at the museum with boxes from thrift stores that are similar enough to reduce the risk of being discovered. By stealing on the days my guard is working, I have an alibi in a trusted person of the museum.<\/p>\n<\/div>\n\n\n\n I will remove the boxes using cotton, lint-free gloves and I will be familiar with my coworker\u2019s actions, so that no one else is in the room. Each box is less than 3 inches long, so they will not be too large to smuggle out of the museum in a small bag.<\/p>\n<\/div>\n\n\n\n I plan to have discrete drop offs with the Solomon\u2019s, which will ensure that I am not in possession of the boxes for an extended period of time. Until they send me my cut of the profit, I will go back to work and act as if nothing has happened.<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n \u201c80 percent of art thefts involve insiders or accomplices that execute the crime over a period of time while working or volunteering in the museum\u201d (Michaud 32)<\/p>\n<\/blockquote>\n\n\n\n In 2014, Dr. Peter Higgs, a curator at the British Museum, began stealing and selling more than 1,800 items on Ebay. A buyer recognized some of the pieces from the British Museum, which eventually led to the museum removing Higgs from his position.<\/p>\n\n\n\n Unless someone is planning an upcoming exhibit, no one will be looking for these boxes. They are not on display for a current exhibit, which makes them easier to grab, and they are not in any catalogue available to the general public. These factors benefit the success of my theft immensely.<\/p>\n\n\n\n Today, gold boxes are being sold at auction houses, such as Sotheby\u2019s and Christie\u2019s.<\/strong><\/p>\n\n\n\n In 2018, Christie\u2019s held an auction for gold boxes that sold for up to $100,000 depending on the quality. The boxes were from the late eighteenth century to early nineteenth century, which is similar to the British Museum’s gold boxes.<\/p>\n<\/div>\n\n\n\n In 2022, Sotheby\u2019s held an auction for gold boxes from the eighteenth and nineteenth centuries. Sotheby\u2019s estimated the value of the gold boxes to range from $7,000 to $50,000. Considering that my gold boxes are detailed and ornate, I believe that they will fall on the higher end of these estimates, if not higher.<\/p>\n<\/div>\n<\/div>\n\n\n\n The art market has been significantly changed since the rise of modern art crime, and it can and will affect the outcome of my crime in potentially unpredictable ways. While the illegal art market might not provide as much profit as the legal art market, each of these boxes are ornate, intricate, and beautiful, which would still result in a large amount of money, which I estimate to be around $200,000 or more, for me.<\/p>\n\n\n\n Works Cited<\/strong><\/p>\n\n\n\n Atkinson, Colin, et al. \u201c\u2018now that you mention it, museums probably are a target\u2019: Museums, terrorism and security in the United Kingdom.\u201d Museum Management and Curatorship<\/em>, vol. 35, no. 2, 5 Nov. 2019, pp. 109\u2013124, https:\/\/doi.org\/10.1080\/09647775.2019.1683881<\/a>. <\/p>\n\n\n\n Fitz-Gibbon, Kate. \u201cDirty Details: British Museum Presses Case against Former Curator Peter Higgs – Cultural Property News.\u201d Cultural Property News – Cultural Property News<\/em>, 18 May 2024, https:\/\/culturalpropertynews.org\/dirty-details-british-museum-presses-case-against-former-curator-peter-higg\/<\/a>. <\/p>\n\n\n\n Gere, Charlotte, and Judy Rudoe. \u201cKnowledge, Money and Time: Anne Hull Grundy as a Collector of Victorian Jewellery.\u201d The Journal of the Decorative Arts Society 1850 – the Present<\/em>, no. 24, 2000, pp. 80\u201397. JSTOR<\/em>, http:\/\/www.jstor.org\/stable\/41809299<\/a>. Accessed 25 Feb. 2025. <\/p>\n\n\n\n Heilman, Madeline E. \u201cGender stereotypes and workplace bias.\u201d Research in Organizational Behavior<\/em>, vol. 32, Jan. 2012, pp. 113\u2013135, https:\/\/doi.org\/10.1016\/j.riob.2012.11.003<\/a>.<\/p>\n\n\n\n IFSEC Insider. \u201cProtecting London #1: Safety and Security at The British Museum.\u201d YouTube<\/em>, YouTube, 2016, www.youtube.com\/watch?v=ZN4LsFfikA8<\/a>. <\/p>\n\n\n\n Kila, Joris, and Marc Balcells, editors. Cultural Property Crime\u202f: An Overview and Analysis on Contemporary Perspectives and Trends<\/em>. 1st ed., Brill, 2015.<\/p>\n\n\n\n Michaud, Eric C. \u201cMuseum Security and the Thomas Crown Affair.\u201d Journal of Physical Security<\/em>, vol. 4, no. 1, Jan. 2010, pp. 31\u201335. EBSCOhost<\/em>, research.ebsco.com\/linkprocessor\/plink?id=d045cf89-174c-34ff-8897-6782adb7f031<\/a>. <\/p>\n\n\n\n Quadlin, Natasha. \u201cThe Mark of a Woman\u2019s Record: Gender and Academic Performance in Hiring.\u201d American Sociological Review<\/em>, vol. 83, no. 2, 2018, pp. 331\u201360, https:\/\/doi.org\/10.1177\/0003122418762291<\/a>. <\/p>\n\n\n\n Shortland, Anja, and Andrew Shortland. \u201cGovernance under the Shadow of the Law: Trading High Value Fine Art.\u201d Public Choice<\/em>, vol. 184, no. 1\/2, 2020, pp. 157\u201374. JSTOR<\/em>, https:\/\/www.jstor.org\/stable\/48733686<\/a>. Accessed 25 Feb. 2025. <\/p>\n\n\n\n Snyder, Mark, et al. \u201cSocial Perception and Interpersonal Behavior: On the Self-Fulfilling Nature of Social Stereotypes.\u201d Journal of Personality and Social Psychology<\/em>, vol. 35, no. 9, 1977, pp. 656\u201366, https:\/\/doi.org\/10.1037\/0022-3514.35.9.656<\/a>. <\/p>\n\n\n\n Sotheby\u2019s. \u201cGold Boxes, Faberg\u00e9 and Objects of Vertu.\u201d Sothebys.Com<\/em>, www.sothebys.com\/en\/digital-catalogues\/gold-boxes-faberge-and-objects-of-vertu<\/a>. Accessed 25 Feb. 2025. <\/p>\n\n\n\n The British Museum. \u201cBox.\u201d The British Museum<\/em>. <\/a>https:\/\/www.britishmuseum.org\/collection\/object\/H_1978-1002-759<\/a>. <\/p>\n\n\n\n The British Museum. \u201cBox.\u201d The British Museum<\/em>. <\/a>https:\/\/www.britishmuseum.org\/collection\/object\/H_1978-1002-760<\/a>. <\/p>\n\n\n\n The British Museum. \u201cCase.\u201d The British Museum<\/em>. <\/a>https:\/\/www.britishmuseum.org\/collection\/object\/H_1978-1002-758<\/a>. <\/p>\n\n\n\n<\/figure>\n\n\n\nThe Plan<\/strong><\/h2>\n\n\n\n
After a respectable amount of time, I will take the gold boxes one by one on different days to warrant less suspicion.<\/h2>\n<\/div>\n\n\n\n
Being Cautious<\/h3>\n\n\n\n
The Theft<\/h3>\n\n\n\n
After The Theft<\/h3>\n\n\n\n
The Research<\/strong><\/h2>\n\n\n\n
\n
\n\n\n\n