Suzanne Kenney, host of Crime & Canvas, delves into the most challenging aspect of her 15-year quest in Episode Five: The Authentication Challenges. Despite possessing artworks by masters like Van Gogh, Picasso, Manet, and Calder—central to the Isabella Stewart Gardner Museum heist—Suzanne has faced relentless resistance and closed doors at every turn.
The Unyielding Resistance
Suzanne clarifies that her claims involve billion-dollar art crimes and multi-million dollar artworks. The absence of any cease and desist orders, despite her persistence, speaks volumes. Her extensive efforts include reaching out to:
- Robert Wittman, former FBI art investigator.
- Julian Radcliffe of the Art Loss Register.
- The Isabella Stewart Gardner Museum.
- Various media outlets, art experts, and art foundations.
- Law enforcement in America and London.
- Cambridge University.
For years, no one offered genuine assistance, leading to profound disappointment. The lack of technology in the early days compounded the difficulty of researching “Mr. Koch,” leading Suzanne and her mother to almost give up.
A Renewed Fight
The journey reignited in 2010 when her mother gave her Calder drawings and asked her to try selling the remaining art. With renewed determination and improved technology, Suzanne pursued the truth. Her children’s discovery that the Koch brothers were alive—contradicting the “fake death” story—was a pivotal moment.
Suzanne then bravely contacted Frederick Koch’s companion, John Olsen, who chillingly denied any knowledge of the transactions or the artworks. This denial, directly contradicting published information about Koch’s collecting habits, intensified Suzanne’s resolve.
Unseen Obstacles and Subtle Intimidation
Suzanne recounts a surreal encounter at a 2012 event where Robert Wittman was speaking. She found herself in the same room as Charles, David, and William Koch, who seemed to be aware of her presence, culminating in a strange run-in with David Koch. Later, in line to speak with Wittman, she encountered John Olsen and witnessed other odd behaviors, raising suspicions of surveillance.
Despite Wittman’s dismissive “Look, there are no crimes with your mother’s artwork!”, Suzanne persisted, presenting evidence including eBay listings, Sotheby’s authentication for the Jane Peterson, and handwritten notes. The inconclusive ink test for the Calder drawings, rather than a setback, is argued as further proof of their genuine antiquity, as early ink formulations were difficult to date.
The refusal to authenticate her art, even after another Picasso from her mother’s collection was legitimately sold for $150,000 by a different vendor, highlights a systemic bias.
Demanding Accountability
Suzanne asserts that her factual, documented evidence is as worthy of being heard as unverified mobster theories. She sees the systematic suppression of her story as a high-level cover-up, reaching “all the way to the FBI, most levels of the Government, Agencies that are formed to solve crimes, all Media outlets, Museums, and even Universities.” She argues that the lack of attention given to a case involving a billionaire, despite evidence, is deeply troubling.
Frederick R. Koch’s background, including being disowned and accused of theft by his family, paints a picture of a man whose actions might have stemmed from a complex mix of guilt and a desire to “right his wrongs”—perhaps even connected to the art heist itself and Robert Donati’s death.
Suzanne refuses to be complicit. She urges listeners to take action: Email editors@propublica.org to demand coverage of her 15-year fight for justice. Tell them you’ve heard the evidence on Crime & Canvas and use #CrimeAndCanvasPodcast when sharing this episode. For those with unheard stories, visit uhv.news.
What’s Next?
In Episode 6: The 1991 Fire Tantrum & The Timeline, Suzanne will delve into the fire in London and its significance to the timeline of events.
Thank you for joining Suzanne Kenney on crimeandcanvaspodcast.com. Remember, “the truth is still the truth, even if no one believes it.”
