Suzanne Kenney’s Crime and Canvas podcast continues its exposé of the 1990 Isabella Stewart Gardner Museum art heist. In Episode Three: The Notes’ Connection, Suzanne reveals the crucial evidence hidden in plain sight: the handwritten notes exchanged between her mother, Mary, and the alleged perpetrator, Frederick R. Koch.
Decoding the Deception
These aren’t just ordinary scribbles. As listeners can follow visually on the podcast’s “Evidence” page, these notes, penned by both Koch and Mary, are central to linking the valuable artworks – by Van Gogh, Picasso, Manet, Calder, and Jane Peterson – directly to Koch’s deceptive scheme.
In a pre-internet era (1991-1992), Mary had no way to verify Koch’s elaborate tales of his art acquisitions. Yet, Koch meticulously documented where he supposedly obtained each piece, including names of galleries like “Marlborough House Gallery” and auction catalog numbers. This detailed knowledge, far beyond what a typical criminal would possess, points to Koch’s deep ties to the high-end art world.
The Unmistakable Trail
Suzanne breaks down what the ten notes reveal about each artwork:
- Vincent van Gogh, “The Moroccan”: Notes detail its title, origin from Gallery Van Nuys in Paris, and a specific “Madame Corne.”
- Pablo Picasso: Linked to the collection of H. Leed and Marlborough House Gallery, with 1953 auction catalog numbers.
- Alexander Calder: From the Hokin Gallery in Palm Beach, formerly owned by Calder’s housekeeper, Mrs. Clifford.
- Jane Peterson: Originated from the Washington Gallery, on unique Kodak paper.
- Camille Bombois: Noted as an early “Naviete period” work.
- Kees van Dongen: Also tied to Marlborough House Gallery from the same 1953 catalog as the Picassos.
The notes even mention artworks Mary sold before Suzanne could document them, such as pieces by Maurice D. Vlaminak, Fernand Ledger, and Joan Miro, further highlighting Koch’s extensive collection and knowledge.
A Deeper Family Connection
Intriguingly, the notes even reveal Koch’s boasts about his name being on the Denver Museum’s Department of Indian Artifacts. This aligns with a deeper, unsettling family history: Frederick’s brother, William Koch, famously sued Charles and David Koch for allegedly stealing oil from Native American tribes, a lawsuit that predates Frederick’s dealings with Mary and resulted in a significant settlement. This context paints a complex picture of the Koch family’s relationship with wealth and cultural artifacts.
Undeniable Proof
These notes were the linchpin of Suzanne’s investigation, providing the first concrete roadmap to uncovering Koch’s true identity and the source of his artwork. They prove Koch’s sophisticated involvement and directly contradict any notion of the Gardner heist being a simple mob job. Frederick R. Koch knew his crimes; he audaciously left a detailed trail, believing he could evade repercussions for decades.
Suzanne urges listeners to visit CrimeandCanvasPodcast.com to view the handwritten notes themselves and use #CrimeAndCanvasPodcast to demand forensic analysis of these crucial documents. Your engagement helps ensure this story is heard and challenges the systemic silence surrounding such truths.
What’s Next?
In Episode Four, Suzanne will delve into her research and Miami discoveries, exploring Koch’s hidden business connections and ties to international art trading.
For documented evidence, visit theartworxstory.com and sign up for newsletters. To join a wider movement for truth, visit UHV.News, “Unheard Voices.”
Thank you for joining Suzanne Kenney on the Crime and Canvas podcast. Remember, “the truth is still the truth, even if no one believes it.”
