Suzanne Kenney of the Crime and Canvas podcast continues her journey into the 1990 Isabella Stewart Gardner Museum art heist, a crime she believes she’s solved. In Episode Two: The Artworks—Van Gogh, Picasso, Manet, Calder, and Peterson, Suzanne dives deep into the remarkable collection of master artworks her mother, Mary, acquired from the enigmatic Frederick R. Koch.
A Collection Beyond Imagination
Following Episode One’s introduction to Koch and his unusual art sales, Suzanne now reveals the extraordinary pieces she personally saw and photographed. For Suzanne, who had no prior connection to fine art, discovering an unknown Vincent van Gogh and touching a painting by such a master has been a profound experience, one of the few joys in her long fight for truth.
The collection Mary amassed includes works by:
- Alexander Calder: Five pen and pencil “doodles” from the Hokin Gallery.
- Camille Bombois: An early painting on board from his Naivete period.
- Édouard Manet: A beautiful small canvas of a beach scene.
- Jane Peterson: Three bird paintings, notably a Snowy Egret that Sotheby’s authenticated. This authentication, based on unique Kodak paper used by Peterson, is believed to have alerted the Koch brothers to Frederick’s activities, leading to his faked death.
- Jim Cassel: A torn, stained print, initially dismissed, but later understood to be the “most important and invaluable” piece, its significance revealed in Episode Seven.
- Kees van Dongen: A beautiful sepia ink wash drawing of a lady in a hat.
- Pablo Picasso: Four pieces, though only three were photographed by Suzanne. One, a drawing of a man and a beast, was quickly sold by Mary and later resold at Sotheby’s for over $150,000. These Picassos are linked to the collection of H. Leed and a Marlborough House Gallery in London.
- Vincent van Gogh: The most valuable and significant piece, titled “The Moroccan,” believed to depict Moulay-Hassan I, the last Sultan of Morocco. This painting, like several others, shows signs of being cut from its frame, a critical detail explored further in Episode Eight, hinting at a dramatic origin possibly tied to a warehouse fire discussed in Episode Six.
The Fight for Truth Continues
Suzanne’s journey with these artworks transcends their artistic value; it underscores a deep-seated injustice. She stands firm in her defiance against those who would silence her, asserting that Mary’s story is about systemic corruption, powerful accountability, and the very foundation of justice.
What’s Next?
Tune into Episode Three: The Notes’ Connection, where Suzanne will delve into the handwritten notes from Frederick Koch, revealing crucial links to the artworks and the broader narrative.
To join a wider movement for truth, visit UHV.News, “Unheard Voices.”
Thank you for joining Suzanne Kenney on crimeandcanvaspodcast.com. As she reminds us, “the truth is still the truth, even if no one believes it.“
