Speaker 1: We've all felt left out, and for people who moved
Speaker 1: to this country, that feeling last more than a moment.
Speaker 1: We can change that. Learn how it Belonging begins with
Speaker 1: us dot org. Brought to you by the AD Council. Hey, Hey,
Speaker 1: this is John O'Bryant, entrepreneur and a fellow builder just
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Speaker 1: brand new podcast is called Building the Good Life, where
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Speaker 1: I'm time onto you and I'm the host of Calling BS,
Speaker 1: the first podcast about purpose washing. In this show, we
Speaker 1: dig into the difference between what organizations say they stand
Speaker 1: for and the actions they are actually taking. Let's call
Speaker 1: BS on the businesses that deserve it and also make
Speaker 1: some concrete suggestions for cleaning that BS up. Listen to
Speaker 1: Calling BS every Wednesday on the I Heart Radio app,
Speaker 1: Apple podcasts or wherever you get your podcasts. If you
Speaker 1: went into the Gucci store and bought a handbag. You
Speaker 1: wouldn't ask the salesperson is this a real Gucci? You know,
Speaker 1: you would take that as a sort of given fact.
Speaker 1: So the fact that Nodler, you know, was the oldest
Speaker 1: gallery in the city. It was a hundred and sixty
Speaker 1: five years old. It had worked with these artists in
Speaker 1: their lifetimes, and if you wanted to buy an abstract
Speaker 1: expressionist painting, that's kind of the place you would go
Speaker 1: to do that. By the mid two thousand's, Carlos and
Speaker 1: as forgery scheme was raking in enormous profits, and yet
Speaker 1: Era was miserable. Later, she told a federal judge that
Speaker 1: Carlos beat her frequently, once going so are as to
Speaker 1: break her nose. The beatings, she claimed, were to keep
Speaker 1: her from bailing out of the family art business. Quitting
Speaker 1: wasn't an option. Carlos warned that if she left, he
Speaker 1: would kidnap their daughters solely and take her to Spain,
Speaker 1: and Glyphra would never see her again. Ironically, gas relationship
Speaker 1: with Ann Friedman was blossoming. Rosalees demanded and received higher
Speaker 1: fees from Knobler as the fake paintings continued to sell
Speaker 1: for exorbitant prices. Ultimately, GPA would rake in more than
Speaker 1: twenty million dollars in her fourteen year forgery career. With
Speaker 1: that money came a commensurate lifestyle. In two thousand five,
Speaker 1: Carlos and Gpa bought an enormous square foot house in
Speaker 1: the North Shore neighborhood of Sam's Point on Long Island's
Speaker 1: Gold Coast. The Mediterranean style home came with a two
Speaker 1: point three million dollar price tag, quite a property for
Speaker 1: a local art dealer and her seemingly unemployed partner. Friends
Speaker 1: and neighbors found the home beautiful and impressively furnished, but
Speaker 1: not without its quirks. The odd thing about it was
Speaker 1: they were paintings everywhere, and not just hung on the
Speaker 1: walls either. One time we went over to pick up
Speaker 1: the kids, my wife and I were in the house
Speaker 1: and we were kind of blown away by the art
Speaker 1: that we saw in the house, because, you know, Glafire
Speaker 1: always had the appearance of being successful. My name is
Speaker 1: Brian Scarlatto's I'm an attorney with Costellans and Fink in
Speaker 1: New York City, and I specialized in criminal tax investigations
Speaker 1: and prosecutions. Brian was a family friend of Cfia and
Speaker 1: Carlos and Sam's point, their children attended the same school. Later,
Speaker 1: when Golf's legal troubles began, she retained Brian as her attorney.
Speaker 1: We knew she had a gallery in New York, but
Speaker 1: when we went into the house, you know, we recognized
Speaker 1: several pieces that that we knew. There were warholes. I
Speaker 1: believe there was a Picasso, there was a Rothco, and
Speaker 1: others like that. And as I said, there was also
Speaker 1: very interesting furniture, and there was just so much art
Speaker 1: that some of it was leaned up against the wall
Speaker 1: because there wasn't enough room to hang it all on
Speaker 1: the walls. And you know, my wife and I think
Speaker 1: just assumed that they were using their art as storage
Speaker 1: for their gallery. But when you go into somebody's house
Speaker 1: and you see warholes in a Picasso and a Rothco
Speaker 1: and other things that you recognize, it's it's sort of,
Speaker 1: you know, overwhelming. You know, it was also casual. I
Speaker 1: remember remarking to my wife on the way out that
Speaker 1: you know, oh my god, they have this this little dog, Rocky,
Speaker 1: who was running around embarking. And I remember saying to
Speaker 1: my wife, what if Rocky were to pee on a Picasso.
Speaker 1: I mean it just and it seemed like it could happen, because,
Speaker 1: as I say, things were just stacked up against the wall.
Speaker 1: They were always very elegantly dressed, you know, nice cars,
Speaker 1: in a very nice house, and they seemed to travel
Speaker 1: the world, and they also knew a lot about art.
Speaker 1: And so they were my friends who were the art
Speaker 1: dealers and had a gallery. And Friedman was also living
Speaker 1: the good life. Ndler was trafficking almost exclusively in the
Speaker 1: David Herbert collection of fake Rothko's, to Coonings and pollocks,
Speaker 1: and had a knack for reaching out to buyers that
Speaker 1: were exceedingly wealthy but not necessarily well informed. Domenico and
Speaker 1: Eleanor de Sole walked into the Ndler in late two
Speaker 1: thousand four in search of a Shawn Scully painting. Scully
Speaker 1: was a contemporary abstract artist. The Soules, profond of Domenico Disle,
Speaker 1: was just stepping down as president and CEO of Gucci
Speaker 1: and was becoming designer Tom Ford's partner in a new
Speaker 1: fashion company. The Soles had an ocean front home in
Speaker 1: Hilton Head, South Carolina, and needed art to hang on
Speaker 1: its walls and didn't have a Shawn Scully painting to
Speaker 1: sell them. She did, however, have an amazing Mark Rothko,
Speaker 1: as she had done so many times before, and enchanted
Speaker 1: her prospective buyers with the story of the ex family,
Speaker 1: David Herbert and the marvelous downtown art world of the
Speaker 1: nineteen fifties where artists sold works out of the back
Speaker 1: of their studios for cash. The Desoles glowed with excitement.
Speaker 1: They had never paid anywhere close to eight point four
Speaker 1: million dollars for a painting before, but it was a Rothco.
Speaker 1: The very name of the painting, untitled nineteen fifty six,
Speaker 1: evoked images of the troubled artist in his upper East
Speaker 1: Side carriage house, working late into the night. Like so
Speaker 1: many other paintings in the David Herbert collection, the work
Speaker 1: was notably smaller than a typical Rothco. Larger ones went
Speaker 1: for tens of millions of dollars. Once again, the painting
Speaker 1: had no real provenance, nor was it in the Rothco
Speaker 1: catalog resume, but Anne said she had no doubt the
Speaker 1: magnificent painting they were gazing at would soar in value
Speaker 1: once it was placed in a future supplement to the
Speaker 1: catalog resume. The eight point four million dollar Rothko was
Speaker 1: sold and hung in the Dosoles hilton Head family home.
Speaker 1: Eleanor later testified that friends would stop by just who
Speaker 1: and ah over it? But what was a Rothko compared
Speaker 1: to a top of the market Pollock. Ever since Anne
Speaker 1: had hit a wall with the Leavey Pollock, she had
Speaker 1: pressed life for another. By two thousand seven she had
Speaker 1: it in hand, a classic drip painting with a silvery cast.
Speaker 1: Fully deserving, Anne thought of the seventeen million dollar price
Speaker 1: tag she attached to it. Through a pair of middleman dealers,
Speaker 1: a transparency of the painting found its way to a
Speaker 1: Belgian born financi or named Pierre Lagrange. La Grange was
Speaker 1: a hedge fund manager, one of the richest men in London.
Speaker 1: He was drawn to the Pollock, but, like Jack Levy,
Speaker 1: he wanted assurances that the painting was authentic. Fortunately, Lagrange
Speaker 1: wasn't asking for an official eye far evaluation of the painting.
Speaker 1: He did want to be sure that the Pollock Krasner
Speaker 1: Foundation would authenticate the work. This was a problem for Anne.
Speaker 1: The Pollock Foundation had stopped authenticating any new works purporting
Speaker 1: to be Pollocks. As for the Pollock catalog, resume, its
Speaker 1: last and final supplement, had been released in nineteen ninety four,
Speaker 1: and had the clout to arrange a meeting with the
Speaker 1: Pollock Krausner Foundation lawyers, in part because one of the
Speaker 1: lawyers was also her lawyer. She talked up the painting
Speaker 1: and stressed the importance of updating the entire catalog resumee
Speaker 1: to be reprinted in full color. It was our only
Speaker 1: shot to have the painting added. Officially, the lawyers murmur
Speaker 1: and hummed, but the word authentication never quite entered the room.
Speaker 1: Anne had to think fast or risk losing the biggest
Speaker 1: sale of her career. On March eighteenth, two thousand seven,
Speaker 1: Anne wrote to Lagranges Camp and told them exactly what
Speaker 1: she thought the English collector wanted to hear. Quote. The
Speaker 1: Poblock Krasner Foundation has stated that they are intending to
Speaker 1: update and republish the catalog resume in full color and
Speaker 1: also in an online version. Every detail of the email
Speaker 1: was a lie. Lagrange and his chief lawyer, Matthew Johnson
Speaker 1: found the email less than persuasive. They wanted reps and warranties,
Speaker 1: as Donson later put it, which was to say legally
Speaker 1: binding language that the painting would be authenticated, and that
Speaker 1: it would appear in the next catalog. Resume Friedman turned indignant. Quote.
Speaker 1: The distrusting and demanding language in this agreement of sale
Speaker 1: is not and keeping with the familiar and widely accepted
Speaker 1: standards and practices in the art business, she huffed. In
Speaker 1: her written response, it veers far from the spirit and
Speaker 1: understanding of our original agreement. I have not been confronted
Speaker 1: by anything like this in my thirty four years of
Speaker 1: experience as an art dealer. We have given you our word.
Speaker 1: Our invoice is always our legal guarantee, and has previously
Speaker 1: stated if this painting has proved not to be by
Speaker 1: the hand of Pollock, the sale would be canceled, the
Speaker 1: painting return to Ndler, and the full purchase refunded to
Speaker 1: you end quote. The hypocrisy of the letter was breathtaking,
Speaker 1: but Ann's huffing and puffing seemed to do the trick.
Speaker 1: On November six, two thousand seven, Pierre Lagrange completed his
Speaker 1: purchase of the silvery Pollock. The Knodler provided a written
Speaker 1: guarantee that Lagrange's pollock was from a quote private collection
Speaker 1: of the heir to a collector who had obtained it
Speaker 1: directly from Jackson Pollock end quote. The air insisted on anonymity.
Speaker 1: With seventeen million dollars rendered, Pierre Lagrange gave his new
Speaker 1: painting a place of honor in his London penthouse, unaware
Speaker 1: that its true value was little more than the canvas
Speaker 1: it was painted on. More art fraud in a minute. Hi,
Speaker 1: this is Bill Clinton, and I hope you'll join us
Speaker 1: on why am I telling you this? And Why am
Speaker 1: I telling you this? Why am I telling you this?
Speaker 1: And why am I telling you this? Because it is
Speaker 1: your future on the line, where we'll talk about ideas
Speaker 1: that are improving our world and deserve more attention. After
Speaker 1: years of being interviewed, I'm looking forward to doing the
Speaker 1: interviewing to celebrate people's unique gifts that make life more
Speaker 1: interesting and affirm that our common humanity matters more. Please
Speaker 1: join me on who Am I telling you this? For
Speaker 1: conversations with some of the most fascinating people I know.
Speaker 1: We'll share stories and talk about ideas that deserve more
Speaker 1: attention and why we should be hopeful and optimistic about
Speaker 1: our future. Listen to Why Am I telling You This?
Speaker 1: On the I Heart Radio app, Apple podcasts or wherever
Speaker 1: you get your podcasts. Hi, I'm Elizabeth Dutton and I'm
Speaker 1: Elizabeth Dutton. Wait sorry, do you want to see your name?
Speaker 1: I'm good, good, go ahead. We're the hosts of Ridiculous Crime.
Speaker 1: People love true crime, right, the mystery, the intrigue, the
Speaker 1: human frailty totally. But what a lot of us don't
Speaker 1: like is the blood and the guts and the mayheman Wait, wait, wait, wait,
Speaker 1: some of us do like the mayhem. Okay, let's be real,
Speaker 1: there's nothing funny about murder. Okay, that's our show gives
Speaker 1: you stories like the kidnapping of Frank Sinatra Jr. And
Speaker 1: the Max Headrooms signal hijacking. Oh so you mean ridiculous
Speaker 1: stories like the UK cat Shaver and Pablo Escobar's cocaine hippos. Yeah,
Speaker 1: stories like the dudes who stole Buzzy, the animatronic whatever
Speaker 1: he was from Disney World, and the woman whose husband
Speaker 1: tried to kill her but came back from the dead
Speaker 1: and surprised him at her own funeral. Yeah, that does
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Speaker 1: all over the place, the I Heart Radio app, the
Speaker 1: Apple podcast, or wherever you get your podcasts. I don't
Speaker 1: know how you live ridiculous crime. What grows in the
Speaker 1: forest trees? Sure? No? What else grows in the forest,
Speaker 1: Our imagination, our sense of wonder, and our family bonds
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Speaker 1: you by the United States Fourth Therapist and the AD Council.
Speaker 1: Around the same time, Pierre Lagrange was acquiring his seven
Speaker 1: figure Pollock Glafia, Rosalie's success was perhaps going to her head.
Speaker 1: An opportunity for new business came up when her old
Speaker 1: friend Heimi Andrade introduced Cfia to an ex notler dealer
Speaker 1: named Julian Weissman. Rosalez spoke to Wiseman about potentially cutting
Speaker 1: ties with Ann Friedman. She wanted a new start, she said.
Speaker 1: As a show of good faith, she consigned three Robert
Speaker 1: Motherwell paintings to Wiseman's gallery, who works were said to
Speaker 1: be from Motherwell's Elegy to the Spanish Republic series. The
Speaker 1: third painting from the series was ultimately sold by Wiseman
Speaker 1: for six hundred and fifty thousand dollars to Mark blonde,
Speaker 1: director of the Irish Kalila Gallery. Blondeau, like Lagrange, wanted
Speaker 1: authentication and he got it. Jack Flamm and Morgan Spangler,
Speaker 1: co directors of the Motherwell Foundation known as the Dadalus,
Speaker 1: spent hours poring over the Blondo Motherwell. Its lack of
Speaker 1: provenance bothered them, but they fell obligated to authenticate it.
Speaker 1: The painting was just that good. Flam and Spangler spent
Speaker 1: the rest of two thousand seven finishing Motherwell's catalog Resimee.
Speaker 1: As they did, they noticed a troubling trend more Spanish
Speaker 1: elegy paintings without provenance. There were seven in all, including
Speaker 1: the one now owned by the Khalila Gallery. To the
Speaker 1: foundation's dismay, four of the seven paintings were being sold
Speaker 1: by the Knodler Gallery. Jack Flam insisted that all seven
Speaker 1: Spanish elegy paintings be shown together at the Knodler and
Speaker 1: resisted as long as she could, but ultimately she caved
Speaker 1: and agreed. The Spanish elegies were spectacular, but curiously, they
Speaker 1: were all mind exactly the same way. This was strange
Speaker 1: for a painter who was known to vary his signature.
Speaker 1: From picture to picture, three of the paintings had gone
Speaker 1: from Glafira to Weissman, indicating that Rosalis had played her
Speaker 1: side game. Likely to ann Friedman's surprise, now and admitted
Speaker 1: the obvious. All seven paintings had come from the same
Speaker 1: source for the moment, she refused to say who that source.
Speaker 1: Was alarmed, the Dadalus Foundation demanded Ndler higher a widely
Speaker 1: respected forensic art expert named Jamie Martin, to test two
Speaker 1: of the disputed Spanish Elegy paintings. Martin also tested genuine
Speaker 1: Motherwell paintings for comparison's sake. What Jamie Martin would do
Speaker 1: is he will take a painting and he will investigate
Speaker 1: all the aspects of the paint, from the frame to
Speaker 1: the paints that are used. That's Jason Hernandez, Assistant District
Speaker 1: Attorney to New York Second District, and the course of
Speaker 1: his criminal investigation, Jason gleaned a wealth of knowledge about
Speaker 1: the forensic testing process. He'll take an incredibly small slice
Speaker 1: of the paint. He'll investigate the dust that's in the
Speaker 1: crevices and the cracks of the paint, and he will determine,
Speaker 1: you know what the composition of those materials are. He
Speaker 1: will look for what he calls anomalies, meaning things that
Speaker 1: shouldn't be there. And I'll give you a very very
Speaker 1: simple example. I think it was the DuPont Corporation at
Speaker 1: some point patented titanium dioxide, which really makes whites really white.
Speaker 1: It was patented sometime and I don't know the seventies
Speaker 1: I'm going to call it. But what that means is
Speaker 1: that if I present to you a Pollock painting and
Speaker 1: it has titanium dioxide in it, we have a problem,
Speaker 1: because Jackson Pollock was dead before titanium dioxide was discovered
Speaker 1: and patented. Jamie Martin's report was devastating if found that
Speaker 1: a red pigment in one of these Spanish elegies hadn't
Speaker 1: existed until years after the paintings were said to be made.
Speaker 1: All seven of the Spanish elegies were immediately scrapped from
Speaker 1: the upcoming Motherwell catalog Resone. The Kalila gallerby sued the Daedalist,
Speaker 1: The Dadalist sued Weissman, the dealer. In the end, all
Speaker 1: parties settled with money changing hands and the Kalila's painting
Speaker 1: branded on its verso as a forgery. One day, while
Speaker 1: Jamie Martin was studying the Spanish elegies, Jack Flam had
Speaker 1: a memorable talk with Ann Friedman. She said, I don't
Speaker 1: want to get Michael Hammer involved in this. He's very lititious.
Speaker 1: Flam later recalled, despite her wish to keep the Spanish
Speaker 1: elegy debacle off her boss's desk, Friedman and Hammer had
Speaker 1: forged an alliance right from the start, As a lawsuit
Speaker 1: would later allege, Anne had kept her boss in the
Speaker 1: loop the sales of Rosales's paintings from the beginning. She
Speaker 1: sent Hammer short write ups of every new painting that
Speaker 1: came in. The writeups detailed how much the gallery paid
Speaker 1: fear for each picture wholesale and how much Ndler had
Speaker 1: sold them for retail to its customers. And yet years
Speaker 1: later Anne felt afraid of Michael Hammer enough to worry
Speaker 1: he might sue her. It seemed as if each partner
Speaker 1: still kept some secrets from the other. From the start,
Speaker 1: Knoedler's owner, Michael Hammer had kept all but invisible in
Speaker 1: his spacious office at the gallery. Staffers rarely saw him,
Speaker 1: and when they did, it was hard not to be
Speaker 1: distracted by his artificial tan and a wardrobe that could
Speaker 1: charitably be described as extravagance. Hammers roughly two dozen vintage cars,
Speaker 1: some worth hundreds of thousands of dollars, only underscore the
Speaker 1: sense that here was a man of almost unimaginable wealth,
Speaker 1: free to do as he wished. By the fall of
Speaker 1: two thousand nine, news of the fake Spanish Elegy paintings
Speaker 1: had reached the prosecutor's office in the Second District of
Speaker 1: New York. Investigators were now sifting through Ann Friedman's seventeen
Speaker 1: years as head of the Ndler Gallery. Any hopes and
Speaker 1: had of keeping Michael Hammer out of the loop were dashed.
Speaker 1: Seeing law enforcement walk through the doors had jolted Hammer
Speaker 1: to his core. That October, he terminated Ann Friedman's employment
Speaker 1: from the Ndler Gallery. Her feet barely touched the floor
Speaker 1: as security guards swept her through the gallery and out
Speaker 1: the front doors under the Royal blue awning and was finished.
Speaker 1: We'll be back after this. Adoption of teams from Foster
Speaker 1: Care is a townfect not enough people know about, and
Speaker 1: we're here to change that. I'm April Dinuity, host of
Speaker 1: the new podcast Navigating Adoption, presented by adopt Us Kids.
Speaker 1: Each episode brings you compelling, real life adoption stories told
Speaker 1: by the families that lived them, with commentary from experts.
Speaker 1: Visit adopt us Kids dot org, slash podcast, or subscribe
Speaker 1: to Navigating Adoption, presented by adopt Us Kids, brought to
Speaker 1: you by the U S Department of Health and Human Services,
Speaker 1: Administration for Children and Families, and the ACT Council. If
Speaker 1: you love true crime podcasts, you need to check out
Speaker 1: True Crime Obsessed. Each week, hosts Patrick and Jillian recap
Speaker 1: a true crime documentary everyone is talking about, and they
Speaker 1: do it with humor, heart and just the right amount
Speaker 1: of sass. When you go camping, you either find the
Speaker 1: skull or you become the skull. That's the role. Patrick
Speaker 1: and Jillian have covered everything from the Ted Bundy tapes
Speaker 1: to Lula Rich, with plenty of art heists in between.
Speaker 1: With over one hundred million downloads and third prety thousand
Speaker 1: five star reviews on Apple Podcasts, true Crime Obsessed is
Speaker 1: one of the most popular true crime podcasts in the world.
Speaker 1: Find True Crime Obsessed wherever you listen. From Cavalry Audio,
Speaker 1: the studio that brought you The Devil Within and The
Speaker 1: Shadow Girls, comes a new true crime podcast, The Pink
Speaker 1: Moon murders. The local sheriff believes there may be more
Speaker 1: than one killery. It's been four days since those bodies
Speaker 1: were found and there's no arrest as it this morning.
Speaker 1: They were afraid it's face it out in that area,
Speaker 1: what if they come back or whatever. It scared me
Speaker 1: to death, like it scared me, I was very, very
Speaker 1: intimidating to live here. Crazy to think you go to
Speaker 1: sleep one night, maybe snuggling with your loved one and
Speaker 1: never wake up, or maybe you wake up in a
Speaker 1: struggle for your life, which you lose. Joint host David
Speaker 1: Raderman as he explores one fateful night when evil descended
Speaker 1: upon small town, Ohio, killed eight members of an Ohio
Speaker 1: family in a pre planned execution. Family was targeted, most
Speaker 1: of them targeted while they were sleeping. Followed the Pink
Speaker 1: Moon murders on the I Heart Radio app, Apple Podcasts
Speaker 1: or wherever you get your podcasts. Back in London, Pierre
Speaker 1: Lagrange was having trouble of his own. Just two years
Speaker 1: after buying his seventeen million dollar pollock, he was embarking
Speaker 1: on a divorce. He was advised to sell his recently
Speaker 1: acquired pollock and split the proceeds with his soon to
Speaker 1: be ex wife. Lagrange was shocked to discover that neither
Speaker 1: Southbes nor Christie's would accept the work. After all, the
Speaker 1: Pollock had no provenance, and its surfaced only a few
Speaker 1: years before. David and Pham, one of the world's most
Speaker 1: respected authorities on modern American art, was just as skeptical
Speaker 1: when he personally viewed the painting in Pierre Lagrange's London home.
Speaker 1: It was the ninth of April two thousand and eight
Speaker 1: when I paid a visit and all the whole collection,
Speaker 1: but then suddenly we got to the Pollock. Pierre looked
Speaker 1: at me. I looked at Pierre's advisor, and I think
Speaker 1: I said, what do you think? And I wouldcall very clearly,
Speaker 1: saying well, that has a history. And they were hoping
Speaker 1: for some more words. But I never said the west
Speaker 1: was silence. They were hoping that you would say the
Speaker 1: painting was right. Yes, that's exactly what I did not say.
Speaker 1: La Grange had the distinct feeling he was being toyed with,
Speaker 1: and he was angry. Where was Ann Friedman anyway? News
Speaker 1: of her firing hadn't yet made its way to La Grange.
Speaker 1: The Knoedler was playing a vanishing game of its own.
Speaker 1: The gallery flat out refused to take back Lagrange's Pollock,
Speaker 1: nor would it be fund his seventeen million dollars. After all,
Speaker 1: the gallery insisted the painting was genuine. Lagrange was seeing
Speaker 1: read he wanted his money, and surfaced in November two
Speaker 1: with an email meant to lower the temperature. Once again,
Speaker 1: she insisted politely but firmly, that Lagrange's Pollock was one
Speaker 1: of several newly discovered works that would be added to
Speaker 1: a revised Pollock catalog. Resimee Ann's timing couldn't have been worse.
Speaker 1: Just one month after her attempt to band aid the
Speaker 1: Lagrange situation with yet another lie, Jackson, Pollock expert Eugene
Speaker 1: Thaw shocked the art world with a declaration of seismic proportions.
Speaker 1: Thaw declared that Legrange's silvery Pollock looked not right to him.
Speaker 1: Thaw was in poor health and he wanted to be
Speaker 1: sure his judgment was made clear, so in early two
Speaker 1: thousand eleven, he repeated his claim in a videotaped Affidavid.
Speaker 1: The painting looked fake to him, Thal said, AND's email
Speaker 1: was immediately and entirely invalidated. It was now February two eleven.
Speaker 1: Pierre Lagrange still had no interest in meeting Ann Friedman,
Speaker 1: but word was that a grand jury was convening to
Speaker 1: consider charges stemming from the fake Spanish elegies, and Anne
Speaker 1: was said to be a subject of interest. Lagrange decided
Speaker 1: he would meet with her after all, and suggested the
Speaker 1: lounge of the Carlisle Hotel with its serpentine rooms of
Speaker 1: overstuffed chairs. Anne arrived early to the Carlyle on a
Speaker 1: wintry day and shows a small table in a cozy
Speaker 1: lowlit corner. She recognized Lagrange from his long gray hair
Speaker 1: and angular face as soon as he walked in, and
Speaker 1: stood up to greet him and his attorney, Matthew Donson.
Speaker 1: Pierre Lagrange, I'm Ann Friedman. It's nice to meet you,
Speaker 1: she said, don't be so sure, Lagrange heath in his
Speaker 1: Belgian accent. Lagrange ordered a cocktail, the lawyer a coke.
Speaker 1: I've been looking forward to meeting you and discussing the painting,
Speaker 1: and said, cheerfully, let's talk about how I can be helpful.
Speaker 1: I want my money, the grand said, his voice rising
Speaker 1: with each word. That's all and tried to stay calm.
Speaker 1: She leaned forward a bit. It's hard to predict the market,
Speaker 1: she noted. She said they might have to wait a
Speaker 1: while before selling the painting, but she and La Grange
Speaker 1: would be able to help each other out of this fix,
Speaker 1: and said assuredly. That was when Lagrange lashed out. Quote.
Speaker 1: He started screaming at the top of his lungs. I'm
Speaker 1: going to set you on fire. Do you understand that
Speaker 1: I'm going to set you on fire and you will
Speaker 1: have no life. It will be over, and it will
Speaker 1: hit the press, and you will be done. And tried
Speaker 1: to reason with the Belgian and financier in a calm voice,
Speaker 1: as if talking to an unruly child. Taking the painting
Speaker 1: back simply wasn't an option. She said all the experts
Speaker 1: agreed it was real, and so did she, and said
Speaker 1: she offered to take the painting on consignment and try
Speaker 1: to sell it to someone else. Lagrange was astounded. Anne's
Speaker 1: solution was to find some other sap to unload the
Speaker 1: painting on. Not only was that wildly irresponsible, but surely
Speaker 1: illegal as well. The two of them would be selling
Speaker 1: a painting Lagrange now believed was a fake. If Noodler
Speaker 1: didn't immediately return his money and take back the painting.
Speaker 1: Lagrange railed, he would destroy her reputation. He was furious.
Speaker 1: Lagrange and Johnson stood up. The meeting was clearly over.
Speaker 1: Everyone by now at the Carlysle was staring. This was
Speaker 1: a real scene, and recounted. The waiter came over and
Speaker 1: asked if she was all right. Later, Lagrange would deny
Speaker 1: A's account of the meeting. He hadn't raised his voice,
Speaker 1: he said. The calamity at the Carlisle merely confirmed Lagrange's
Speaker 1: worst fears. He was sure his Pollock was a fake,
Speaker 1: and Friedman persona non grata. At the Ndler could do
Speaker 1: nothing to get him his money back. Lagrange's only move
Speaker 1: was to squeeze the reclusive Michael Hammer, Noodler's chairman, in
Speaker 1: whatever way he could to recover his seventeen million. Lagrange
Speaker 1: had no idea how utterly dependent the gallery was on
Speaker 1: the sales of Ga Feara Rosales's paintings. He did note
Speaker 1: with interest that Hammer had put one of the galleries
Speaker 1: two adjoining mansions up for sale for more than a year,
Speaker 1: The seventeen thousand square foot Italian Renaissance building at nine
Speaker 1: Street had been quietly shopped around town for fifty nine
Speaker 1: point nine million dollars. That was a high price in
Speaker 1: a bear market. It remained for sale until February two
Speaker 1: thousand eleven, when it sold for thirty one million dollars,
Speaker 1: half its original asking price. As it turned out, the
Speaker 1: sale came shortly before the disastrous Carlisle Hotel meeting. Lagrange
Speaker 1: knew exactly where seventeen million of the mansions proceeds should go,
Speaker 1: but Noodler had no interest in giving any of that
Speaker 1: money back to the London Hedge funder. The standoff with
Speaker 1: Lagrange remained a secret through much of two thousand eleven
Speaker 1: as lawyers attempted to resolve the situation. Then in October
Speaker 1: came news of the Motherwell Spanish elegy settlement. Hi. I'm
Speaker 1: Patricia co In and I'm a reporter for the New
Speaker 1: York Times. Patricia's first scoop about the Noodler saga was
Speaker 1: dated October eleventh, two thousand eleven. I had no idea
Speaker 1: at that point that that story was going to kind
Speaker 1: of explode into one of the biggest art frauds of
Speaker 1: the last hundred years. I just started digging around and
Speaker 1: even though that story was relatively short, I quickly realized
Speaker 1: that there was a much bigger story buried beneath this
Speaker 1: with with a lot more questions that came up, and
Speaker 1: then I started digging. Cohen's story in the Times prompted
Speaker 1: Lagrange to do something he should have done far earlier.
Speaker 1: He called Jamie Martin, the forensic expert who had analyzed
Speaker 1: the motherwells, and requested a test on the polit no
Speaker 1: auction house would touch. The tests confirmed Lagrange's worst fears.
Speaker 1: Various pigments in the painting had not existed in ninety nine,
Speaker 1: when the painting was supposedly made. It was forensically impossible
Speaker 1: for the work to be legitimate. The report Lagrange received
Speaker 1: in late November of two thousand eleven brought full throated
Speaker 1: legal action. In a searing letter to Michael Hammer, Lagrange
Speaker 1: demanded that Knodler refund his seventeen million dollars in forty
Speaker 1: eight hours or face a lawsuit. The letter would ultimately
Speaker 1: be the last straw from Michael Hammer to Lagrange's astonishment.
Speaker 1: Hammer responded by closing the Knoedler's brass doors permanently on
Speaker 1: November eleven, sixty five years after it first opened for business.
Speaker 1: Gafara wasn't actually named, but New York Times readers learned
Speaker 1: the name of Ann Friedman and learned too that she
Speaker 1: had been accused of selling fake Motherwell's while she was
Speaker 1: president of Nodler. Was there a sense of starting to
Speaker 1: connect the dots sort of? I remember that day very
Speaker 1: well because it was a big scandal. There was an
Speaker 1: b I investigation. We were talking about, you know, many
Speaker 1: paintings in many millions of dollars, and I knew about
Speaker 1: the Pierre Lagrange lawsuit, and so I had basically been
Speaker 1: planning within the next week to have this you know,
Speaker 1: big expose about this, and then when the gallery closed,
Speaker 1: it was like, oh shit, we have to cover this,
Speaker 1: but you know, we've got this really other, big story,
Speaker 1: but I can't get into all of that yet because
Speaker 1: not every single piece had turned down. So essentially I
Speaker 1: covered that as a new story, um, giving enough detail
Speaker 1: that we knew something was going on, but also not
Speaker 1: essentially wanting to kind of expose what we knew was
Speaker 1: going to be part of this really big takedown. Incredibly,
Speaker 1: just two days before Noodler closed its doors and two
Speaker 1: years since she'd been fired and placed a very strange
Speaker 1: phone call who noted Clifford Steel expert David and Fam,
Speaker 1: the same expert who had viewed Pierre Lagrange's fake Pollock
Speaker 1: in London and telephone on the November twenty eleven. The
Speaker 1: game was up. By then, basically we knew that it
Speaker 1: was all hopes since things were fakes in a truly
Speaker 1: baffling move and was lobbying an FAM to have the
Speaker 1: burned fragment of a fake Clifford Steel painting added officially
Speaker 1: to the Clifford Steel Museum. This was the very same
Speaker 1: painting Carlos Bergantino's had burned with a hair dryer and
Speaker 1: told Glyfa to say had caught fire in a car.
Speaker 1: I was absolutely astonished that Anne wanted me to write
Speaker 1: some kind of a letter about the Clifford Store Museum
Speaker 1: accepting this flagman of the painting, and I told him
Speaker 1: point blank, it's not up to me to do it.
Speaker 1: It's if anyone's going to do it. It It would have
Speaker 1: to be approved by director, by the Bold and so forth.
Speaker 1: So it was to me um a phone call that
Speaker 1: left me spaceless. Even at the time when I wrote it,
Speaker 1: I bore the exclamation marks after that note because of
Speaker 1: extraordinary On the morning of December two, two thousleven high
Speaker 1: pitched scream could be heard from the bedroom of a
Speaker 1: hotel suite in Miami, Florida. The annual Art Basel Fair
Speaker 1: was about to begin, and Domenico and Eleanor Desole had
Speaker 1: arrived early to get premium tickets. Eleanor was scrolling through
Speaker 1: The New York Times on her iPad when a story
Speaker 1: jumped out. Domenico rushed from the shower to see what
Speaker 1: was wrong. Too shocked to speak, Eleanor handed him the
Speaker 1: iPad her hands shake. King Patricia Cohen's first story in
Speaker 1: The New York Times had mentioned the Knoedler and publicly
Speaker 1: identified Glefara Rosales for the first time, but it was
Speaker 1: a short piece and the Disules may not have noticed it.
Speaker 1: That morning's follow up about Pierre Lagrange and his fake
Speaker 1: Pollock made the news all too clear. One of the
Speaker 1: soles first calls that morning was to Ann Friedman and
Speaker 1: swore to the Disilas that the Lagrange Pollock described in
Speaker 1: the New York Times was real. So were the rest
Speaker 1: of the works in the David Herbert collection, including the Disuls, Rothko,
Speaker 1: the Dosuls demanded evidence who was this mysterious Mr x Jr.
Speaker 1: Through whom all these paintings had flowed, who was glefi Rosales,
Speaker 1: for that matter, and promised she would soon be learning
Speaker 1: the identity of the mysterious collector herself. The Soles were
Speaker 1: incredulous and had previous they told them she did know
Speaker 1: the collector. As one of the Dess lawyers later put it,
Speaker 1: the most basic tenet of authenticity for the Rothco was
Speaker 1: a lie. Neither Anne Freedman nor the Nodler Gallery knew
Speaker 1: the true identity of their supposed client. Among the dozen
Speaker 1: or so victims who began peppering the now defunct K
Speaker 1: Noodler Gallery with legal demands for their money back was
Speaker 1: Francis Beatty. To her shock and horror, Francis discovered that
Speaker 1: a Clifford Steel painting she had purchased from Anne in
Speaker 1: two thousand was likely just another fake from the supposed
Speaker 1: David Herbert collection. Beatty had loved Clifford Stills paintings from
Speaker 1: her earliest days. They're incredibly exciting. They look like sort
Speaker 1: of lightning or jagged cliffs in an abstract way. They
Speaker 1: have enormous electricity and sometimes. The colors are very I
Speaker 1: would say, danse intense, and they have a tremendous sense
Speaker 1: of movement, very dynamic. Finding them was a challenge. Clifford
Speaker 1: stills are rare. You don't know where in the current
Speaker 1: universe there's going to be a Clifford still for sale
Speaker 1: and one that someone might let you get your hands on.
Speaker 1: I mean, they're not sitting there in people's inventory. I
Speaker 1: had a colleague who came in and said to me,
Speaker 1: could you sell a great Clifford still, a great early still?
Speaker 1: And I said, you bet you I can, And he said,
Speaker 1: I know where there is one. There's a beauty, and
Speaker 1: Ann Friedman has it. Francis rushed over to the nler.
Speaker 1: She was stunned. The painting was perfect, the Jagon mountains,
Speaker 1: the colors, perfect size. I had sold to pictures of
Speaker 1: this period, so over a period. It took me, you know,
Speaker 1: fifteen years to find the first one, twenty years to
Speaker 1: find the second one. But of course it had no provenance.
Speaker 1: Oh I remember very specifically because I said, this has
Speaker 1: no provenance and it hasn't been exhibited anywhere. And so
Speaker 1: Anne wrote me an email saying that it belonged to
Speaker 1: a Mexican who had gotten it directly from Clifford Still
Speaker 1: and had been in the same family that entire time
Speaker 1: to close the deal and made an unusual promised to Francis.
Speaker 1: If we did the deal, she would reveal the provenance
Speaker 1: to me. I showed it to a wonderful restorer, very
Speaker 1: good friend of mine, Alan goldrac who had been the
Speaker 1: restorer who had unwrapped all the Clifford stills for the
Speaker 1: Metropolitan Museum's retrospective. Francis also showed the painting to David
Speaker 1: an fhem as much the Clifford still expert as the
Speaker 1: ultimate connoisseur for Pollock and Rothcobe. He had liked the
Speaker 1: picture very much. Despite the positive affirmations from experts, Francis
Speaker 1: remained wary. So I said to Anne, I need a
Speaker 1: Nodler guarantee, and you have to guarantee the authenticity of
Speaker 1: this picture with Noler behind it, so if the authenticity
Speaker 1: is questioned, you return the money to the client. And
Speaker 1: what did she say to that? Fine? And I got
Speaker 1: her to write a guarantee of authenticity on the Clifford still,
Speaker 1: and I gave a copy of it to the client.
Speaker 1: And at that point I thought you know what, We're
Speaker 1: safe if the worst thing possibly happens and something goes wrong.
Speaker 1: It is a Nodler guarantee, and no Ler is the
Speaker 1: last place in the world that would renege on any
Speaker 1: kind of guarantee. With that baby and two fellow dealers
Speaker 1: put their money down about one million dollars. They sold
Speaker 1: it for one point one million to the collector who
Speaker 1: had pushed for the still in the first place. An
Speaker 1: entire decade passed no issues with the painting. Popped up curiously, however,
Speaker 1: and failed to keep her side of the bargain with Francis.
Speaker 1: She didn't tell me who she got picture phone. I
Speaker 1: probably should have pressed her on that, but I didn't
Speaker 1: because I think once I had obtained this Nodler guarantee
Speaker 1: in writing, I thought that I had sort of an
Speaker 1: impregnable defense. So fast forward to two thousand eleven, Pierre
Speaker 1: Lagrange shouts it from the rooftops that he's paid seventeen
Speaker 1: million dollars for a fake Pollock. What was your reaction
Speaker 1: to that news. I'm not sure I want to say
Speaker 1: it on air. I mean, holy moley, um, we were
Speaker 1: absolutely stunned. We went and did the forensic testing. I
Speaker 1: think it had some kind of white in it that
Speaker 1: hadn't been invented back then. And also the pigments were
Speaker 1: of more recent vintage, right. God, So at that point,
Speaker 1: obviously you had to call your customer, who who bought
Speaker 1: the painting. We said, we're going to give you back
Speaker 1: your money and sue and I think we um We
Speaker 1: sent him a check for one million, one thousand, but
Speaker 1: he said to us that he thought the picture was
Speaker 1: now worth three million and he was gonna sue us
Speaker 1: for that much money. I mean the suit must have
Speaker 1: cost three yo dollars. And then we finally settled. You
Speaker 1: settled with Ndler, which, of course, by now was almost
Speaker 1: like a dead man walking, right. I mean it had
Speaker 1: closed in officially, so you were you were negotiating with
Speaker 1: a company that did it even exist. Right. We were
Speaker 1: in the same boat as everybody else. Little by little,
Speaker 1: lots of people were settling to get something. So we
Speaker 1: were out the million dollars. We were out the cost
Speaker 1: of the litigation a million four so maybe it was
Speaker 1: more like a million plus. Well, that must have haunted
Speaker 1: you for a long time. It was a terrible thing
Speaker 1: for the profession. I'm the secretary of the Art Dealers
Speaker 1: Association of America. And I'm an art historian, and I
Speaker 1: love the art dealing profession. It's full of wonderful, devoted
Speaker 1: experts and people who love art. And this was just
Speaker 1: a devastating blow. So it was on everybody's lips, and
Speaker 1: it made you feel like you've gone from decades and
Speaker 1: decades devoted to doing the right thing and suddenly you
Speaker 1: were all like in cahoots with al Capone. Yeah, it
Speaker 1: was hugely distressing. What happened to the painting. By the way,
Speaker 1: it's funny because we got the painting back and it
Speaker 1: was in our basement and I really wanted to take
Speaker 1: it out, take it to, you know, the Clifford Still Museum,
Speaker 1: and you know, stand it up and look at other
Speaker 1: pictures of that vintage and figure out how why I
Speaker 1: had how I had made this mistake. There's no question
Speaker 1: that was a fake. But it was so damn good.
Speaker 1: It was in the story to Richard Fannigan and Company.
Speaker 1: And when we closed, when Richard left that building, I
Speaker 1: don't know where it is and I kind of have
Speaker 1: a mental note of trying to track it down and
Speaker 1: find out where it is. By March two, twelves had
Speaker 1: a team of lawyers harnessed up. Domenico Disle was a
Speaker 1: gentle family man, but being conned out of eight point
Speaker 1: four million dollars set of fire raging in his Italian soul.
Speaker 1: He wasn't just set on getting his money back. He
Speaker 1: wanted triple damages, a so called ko penalty for what
Speaker 1: amounted to a conspiracy among all of the defendants. A
Speaker 1: trio of top art fraud lawyers began inundating the Knodler
Speaker 1: with demands for documents. The number of artists, the number
Speaker 1: of unknown works that cheap prices, know they're got them
Speaker 1: for the incredible markups they sold them for. That's in
Speaker 1: the papers we got in the first few months. Those
Speaker 1: are just invoices from the nother gallery. I spoke with
Speaker 1: the Disols attorneys, Aaron Crowle, Emily rice Baum and Gregory
Speaker 1: Clark at their law offices, so we had discovery from
Speaker 1: them relatively early on with those documents. So you know,
Speaker 1: that's a big part of the case, right from the beginning,
Speaker 1: right and also early on before Jamie Martin had had
Speaker 1: the opportunity to examine a number of different works like
Speaker 1: he had looked at Pierre le Grange's work. I think
Speaker 1: he had looked at ours. We were telling the judge,
Speaker 1: this is like you go to Canal Street and there's
Speaker 1: a table. You don't have to one watches fake. They're
Speaker 1: all fake. You don't have to test them all to
Speaker 1: know that they're all fake. And sure enough, Jamie proved
Speaker 1: that it was the same paint for the Pollock, for
Speaker 1: the roth Cooe. You know that spread ten years apart.
Speaker 1: Over the course of the two years between when we
Speaker 1: filed the case and leading guilty. Over the course of
Speaker 1: that time, Jamie Martin ultimately had access to eighteen works
Speaker 1: out of the fort on the not list, and he
Speaker 1: proved every single one was a fake. What emerged was
Speaker 1: what we showed that trial with the witness testimony, that
Speaker 1: there were no experts who authenticated these paintings. For another
Speaker 1: it just didn't happen. The lawyers came up with six
Speaker 1: red flags clear indicators of a criminal enterprise. The one
Speaker 1: that seems to interest people the most is the profits.
Speaker 1: And you know, our expert testified that ordinarily in the
Speaker 1: secondary market, the dealer will make twenty to thirty percent
Speaker 1: of a profit, so they buy for a hundred dollars
Speaker 1: they sell for a hundred thirty dollars, they get to
Speaker 1: pocket thirty dollars. No, there was making hundreds from the
Speaker 1: very beginning, making hundreds of percent profits, and as the
Speaker 1: scheme went on, it multiplied to six hundred, seven hundred,
Speaker 1: eight hundred percent. Now instead of just a little deep
Speaker 1: in corn on paper, you had a pollock, you had
Speaker 1: a bunch of them, had a bunch of them, and
Speaker 1: so you know, and the profits were a loan, a signal.
Speaker 1: And I think this is that hit the jurors the most,
Speaker 1: that the profits were a signal that, like, something was
Speaker 1: wrong here. But the number of was wildly off the charts.
Speaker 1: By early two thousand thirteen, the lawyers for the Soles
Speaker 1: had done enough discovery to feel they had a rock
Speaker 1: solid case. Jason Hernandez wasn't so sure, and assistant district
Speaker 1: attorney specializing in fraud cases in New York City's Second District,
Speaker 1: Hernandez had come to be wary of fraud cases built
Speaker 1: on the testimony of experts. That was testimony the defense
Speaker 1: could easily counter with experts of their own. After all,
Speaker 1: who was to say which expert would be right? Hernandez
Speaker 1: knew the case would be an enormous challenge. There were
Speaker 1: an unusually large number of prominent people who seemingly were
Speaker 1: going to stand by the paintings and say that they
Speaker 1: were real. That is uncommon, and I could see right away. Well,
Speaker 1: you know, how do you get over that? Because if
Speaker 1: the person selling them is showing them to all of
Speaker 1: these esteemed people and they're saying, yep, looks right to me,
Speaker 1: looks good to me, that's not a criminal case anymore.
Speaker 1: Despite the mountain of lawsuits, only one case would go
Speaker 1: to trial Eleanor and Domenico de Soule versus the defendants
Speaker 1: and friedmanfro Rosalee, carlos Bergantino's Michael Hammer and the NLAR Gallery.
Speaker 1: That's next time on art fraud, Why looks so awfleet
Speaker 1: tragic but on a happy face? Smiling can work like magic,
Speaker 1: but on a happy face. Take off the gloomy mask, tragedy.
Speaker 1: It's not your style. You look so good that you'll
Speaker 1: be glad you decided to smile. Art Fraud is brought
Speaker 1: to you by I Heart Radio and Cavalry Audio. Our
Speaker 1: exact of producers are Matt del Piano, Keegan Rosenberger, Andy Turner,
Speaker 1: myself and Michael Schneyerson. We're produced by Brandon Morgan and
Speaker 1: Zach McNeice. Zach also edited and mixed this episode. Lindsay
Speaker 1: Hoffman is our managing producer. Our writer is Michael Schneyerson. Happy, Happy,
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