WEBVTT - De Sole et al v. Knoedler Gallery, LLC

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<v Speaker 1>Galling mystifying. I think I would get me to a nunnery.

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<v Speaker 1>I mean I would go and do penance, you know,

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<v Speaker 1>go work for some nonprofit in the art world for

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<v Speaker 1>the rest of my career and try to atone for

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<v Speaker 1>whatever had happened. In the grim aftermath of the closing

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<v Speaker 1>of the Nler Gallery, ten lawsuits were filed by cheated customers,

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<v Speaker 1>most notably Domenico and Eleanor desle There saga began with

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<v Speaker 1>a shriek in a Miami hotel room after reading the

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<v Speaker 1>story of the fake Lagrange Pollock in The New York Times.

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<v Speaker 1>Most former customers of the now shuttered gallery just wanted

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<v Speaker 1>to recoup their losses. Investigators concluded that no fewer than

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<v Speaker 1>sixty fake paintings had been created at the direction of

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<v Speaker 1>Fara Rosales. At trial, an accounting expert would testify that

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<v Speaker 1>Freedman and dealer Julian Weissman had sold their clients seventy

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<v Speaker 1>million dollars in fakes, yielding a net income of thirty

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<v Speaker 1>three point seven million dollars for Knodler and generating more

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<v Speaker 1>than ten million dollars in commissions for Anne. This was

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<v Speaker 1>in addition to her salary estimated to be four hundred

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<v Speaker 1>thousand dollars annually. Michael Hammer took his own four hundred

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<v Speaker 1>thousand dollars salary plus of both galleries, a near limitless fund,

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<v Speaker 1>spewing cash to eight thirty one his private holding company.

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<v Speaker 1>As for Rosales, no taxes had been paid from her

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<v Speaker 1>sales to Knodler, so profit estimates varied. The New York

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<v Speaker 1>Times would later declare that Rosa Alice had taken in

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<v Speaker 1>about twenty six million dollars from her sale of paintings

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<v Speaker 1>to the two dealers. That was all money that would

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<v Speaker 1>have to be disgorged, along with some twelve point five

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<v Speaker 1>million dollars due to the i R s. Surprisingly, one

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<v Speaker 1>of the first to settle was Pierre Lagrange himself in

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<v Speaker 1>October two thou twelve. Shouting from the rooftops had earned

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<v Speaker 1>Lagrange some admiration, but also his share of ridicule among

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<v Speaker 1>collectors for buying a painting without doing due diligence. He

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<v Speaker 1>had vowed to get his seventeen million dollars back, but Artsy,

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<v Speaker 1>the online art magazine, published a rumor It's settled for

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<v Speaker 1>six point four million dollars, being first in line for

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<v Speaker 1>a refund, had its advantages. There was likely more money

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<v Speaker 1>in the galleries till to be had. The Desoles, by contrast,

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<v Speaker 1>felt bound by a sense of mission. Their lawsuit was

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<v Speaker 1>aimed at making the true public in a civil trial.

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<v Speaker 1>Having a judge and jury declare FIRA's forgery ring to

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<v Speaker 1>be nothing less than a racketeering conspiracy was the real

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<v Speaker 1>prize for them. Assistant District Attorney Jason Hernandez was taking

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<v Speaker 1>a very different approach. He was trying to make a

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<v Speaker 1>criminal case of the notetor's dealings. Surprisingly, it was far

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<v Speaker 1>from a slam dunk. What we were doing previously is

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<v Speaker 1>sort of your art fraud one on one playbook. You've

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<v Speaker 1>got to prove that the paintings are fake, and you've

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<v Speaker 1>got to prove that someone who sold them knew that

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<v Speaker 1>they were fake. But it was very clear that this

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<v Speaker 1>was going to be especially difficult following our usual kind

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<v Speaker 1>of playbook in this case, because well, there were an

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<v Speaker 1>unusually large number of prominent people who seemingly We're going

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<v Speaker 1>to stand by the paintings and say that they were real.

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<v Speaker 1>That is uncommon, and I could see right away, well,

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<v Speaker 1>you know, how do you get over that? Because if

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<v Speaker 1>the person selling them is showing them to all of

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<v Speaker 1>these esteemed people, and they're saying, yep, looks right to me,

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<v Speaker 1>looks good to me. That's not a criminal case anymore.

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<v Speaker 1>You're not going to be able to prove fraud that

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<v Speaker 1>someone intended to deceive, because they'll say, well, you know,

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<v Speaker 1>this museum director said it was good, and I mean

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<v Speaker 1>you know, and Freeman bought one of the paintings. It

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<v Speaker 1>was well thought out. The truth is all of the

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<v Speaker 1>experts declined to authenticate the paintings in any official capacity.

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<v Speaker 1>They've seen them in passing on the notors walls at

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<v Speaker 1>cocktail parties, but none of the experts had any interest

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<v Speaker 1>and testifying. You gotta remember it's it's a criminal case,

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<v Speaker 1>so you have to prove your case to twelve people

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<v Speaker 1>beyond a reasonable doubt. We weren't really getting anywhere with

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<v Speaker 1>the conventional investigative methods, and the provenance was very difficult

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<v Speaker 1>to di proved. Glafira was alas we know very virtually

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<v Speaker 1>nothing about. She told nod Lern and Freedom that she

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<v Speaker 1>was a brokera representing a family that she wouldn't disclose

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<v Speaker 1>and I can't get hurt to disclose it, so I

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<v Speaker 1>can't issue her a grand jury subpoena and say tell

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<v Speaker 1>me the name. She would just assert her fit in

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<v Speaker 1>them and right and refuse to tell me. My thought was,

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<v Speaker 1>I can kind of through the back door figure out

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<v Speaker 1>whether or not Glafira was Alas represents a family that

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<v Speaker 1>owns these paintings, because if she's lying about that, that

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<v Speaker 1>is going to be a crime that I can charge, Okay,

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<v Speaker 1>because that's in a very important part of the provenance.

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<v Speaker 1>Imagine if she's lying about this actually being a European

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<v Speaker 1>family that bought these and stored them over all these decades, well,

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<v Speaker 1>that is something I can charge her with. So she

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<v Speaker 1>says she's a brokera she says the paintings are not hers.

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<v Speaker 1>I could see that all the money would go from

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<v Speaker 1>the Nobler Gallery once they would purchase them to a

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<v Speaker 1>couple bank accounts, I think two or three in Spain.

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<v Speaker 1>So my thought was, I'm gonna ask Spain that we

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<v Speaker 1>have a treaty with Spain to for their bank records.

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<v Speaker 1>And then if she is a broker, I'm going to

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<v Speaker 1>see or whatever percentage go to the family in Europe

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<v Speaker 1>and it's going to go to a bank account in

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<v Speaker 1>some other country probably and then I lost that country

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<v Speaker 1>to give me the bank records, and you might prevail there.

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<v Speaker 1>You might actually get foreign banks to cooperate and give

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<v Speaker 1>you records that would prove that she had been engaged

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<v Speaker 1>in financial shenanigans. That's right, let's see where the money flows.

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<v Speaker 1>So I took that kind of old approach. Okay, you know,

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<v Speaker 1>follow the money to the sexier world of art fraud,

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<v Speaker 1>where you follow the pigments and those sorts of things.

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<v Speaker 1>And what it showed was that she was lying about

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<v Speaker 1>who owned the paintings. She owned them, someone else owned them,

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<v Speaker 1>but she's keeping all the money. So that gave me

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<v Speaker 1>a fraud charge against her. Okay, you are falsely representing

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<v Speaker 1>to the Nobler Gallery that these paintings belonged to you know,

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<v Speaker 1>then fill in the long story what she told all

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<v Speaker 1>that that yarn she spun about who it belonged to.

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<v Speaker 1>I now have leverage against CFIA. I have a criminal charge.

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<v Speaker 1>It's a lot of money, you know, many millions of

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<v Speaker 1>dollars of paintings, so it's a significant fraud. And then

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<v Speaker 1>on top of that, she is not reporting any of

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<v Speaker 1>this money as income, so there is a tax charge there.

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<v Speaker 1>Nor is she reporting the fact that she has formed

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<v Speaker 1>bank accounts in excess of ten thousand dollars, which is

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<v Speaker 1>another federal crime. So now the deck is stacked way

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<v Speaker 1>high against the FIA Rosol. She's kind of got nowhere

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<v Speaker 1>to run. I have very simple, provable, direct, strong criminal

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<v Speaker 1>charges against her, and now I can kind of use

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<v Speaker 1>that as pressure um to get her to talk unless

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<v Speaker 1>she's willing to spend, you know, a lot of time

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<v Speaker 1>in prison. One night, early in the summer of two thout,

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<v Speaker 1>some eighteen years after his first faithful meeting with Anne

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<v Speaker 1>at a Soho art gallery, law enforcement agents came crashing

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<v Speaker 1>through the front doors of Carlos Andrs. Multimillion dollar home.

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<v Speaker 1>It's very traumatic. They came actually to wake me up.

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<v Speaker 1>It was very early in the morning, at six in

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<v Speaker 1>the morning around the time. And then there was the squad.

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<v Speaker 1>I was sleeping, My daughter was upstairs sleeping. She was

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<v Speaker 1>supposed to go to Spain the next day or that

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<v Speaker 1>day day evening. And they knocked at the door and

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<v Speaker 1>they told me that they were the police and opened

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<v Speaker 1>the door. And I saw them, you know, with their weapons,

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<v Speaker 1>and and I said, can I put something on it?

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<v Speaker 1>And they say, opened it, opened it. Or else. Of

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<v Speaker 1>course I opened the door, I saw the I'm drawn

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<v Speaker 1>in all over my house when they were with the

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<v Speaker 1>way pons pointing everywhere. Uh, and then they took me

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<v Speaker 1>and I wanted to give a hat to my daughter,

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<v Speaker 1>so they didn't let me. Oh, so it was horrible.

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<v Speaker 1>We'll be back in a minute. Brian Scarlatto's fear as

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<v Speaker 1>attorney and family friend took the call while out of

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<v Speaker 1>town on a work trip. I recalled because I was

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<v Speaker 1>in Las Vegas for work, and my wife called to

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<v Speaker 1>say that Glad had been arrested and that there was

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<v Speaker 1>a story in the newspaper, which you know, I looked

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<v Speaker 1>up on the internet, and um, you know, at this

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<v Speaker 1>point had been a friend of ours for a while,

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<v Speaker 1>so I felt like I should look into it since

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<v Speaker 1>you know, it is kind of my area of the law.

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<v Speaker 1>Glafi had just been arrested and so um, we had

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<v Speaker 1>to go into jail to speak to her. But what

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<v Speaker 1>we found out is is that she had really been

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<v Speaker 1>arrested for tax evasion, sort of like al capolm and

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<v Speaker 1>the government couldn't get them, you know, for organized crime.

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<v Speaker 1>They just followed the money, and in Glafira's case, the

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<v Speaker 1>government was able to follow the money. By now, after

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<v Speaker 1>living in Sand's Point for years, had you come to

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<v Speaker 1>suspect Laphia and Carlos might be art thieves. I did

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<v Speaker 1>not suspect anything. They did seem to be very successful.

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<v Speaker 1>But it was extremely shocking, and you know, and it's

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<v Speaker 1>shocking whenever you hear about anybody being arrested, but certainly

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<v Speaker 1>a very nice woman in her you know, later fifties

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<v Speaker 1>like Fra Brian visited Glafira in prison soon after her arrest.

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<v Speaker 1>It was a sobering moment for the family attorney who

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<v Speaker 1>had come to know Carlos and Fia. Well, you go

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<v Speaker 1>in and it's very difficult to get in, and Gafa

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<v Speaker 1>had just been arrested, and in fact, she didn't have

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<v Speaker 1>enough money for shoes because they take your shoes away

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<v Speaker 1>and you need a commissary account then to buy shoes,

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<v Speaker 1>and so she was wearing paper slippers and it was

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<v Speaker 1>very very distraught, you know, just didn't know what was

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<v Speaker 1>going to go on Carlo's head, you know, fled and

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<v Speaker 1>so her daughter, her young daughter is on the outside

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<v Speaker 1>with no parents, I mean solely was maybe twenty years old,

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<v Speaker 1>maybe nineteen years old at this time. It's hard to

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<v Speaker 1>overstate just how lucky Glafira was to have such a

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<v Speaker 1>family friend who was an experienced attorney at this moment

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<v Speaker 1>in her life. After she was arrested, I offered to help,

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<v Speaker 1>largely on a pro bono basis, because all of her

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<v Speaker 1>assets had been seized at that point. Basically, what we

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<v Speaker 1>were able to do is explained to Glafira how this

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<v Speaker 1>was going to play out, that the government had, you know,

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<v Speaker 1>a strong case on the tax evasion charges and that

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<v Speaker 1>carried very significant penalties. Once behind bars, the first order

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<v Speaker 1>of business was for a judge to determine whether Glafira

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<v Speaker 1>Rosalee was a flight risk. We put together I thought

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<v Speaker 1>a very persuasive ca ace thatfa you know, had dual citizenship,

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<v Speaker 1>a boyfriend, with a home into the Dominican Republic, ties

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<v Speaker 1>I believe to Spain, foreign bank accounts, a lot of liquidity,

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<v Speaker 1>a lot of assets, you know, at the time, and

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<v Speaker 1>I'll say it was by no means certain that she

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<v Speaker 1>would be detained because on the other side of the coin,

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<v Speaker 1>I mean, she's never had a criminal case before. She was,

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<v Speaker 1>you know, maybe fifty something, your old woman with a

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<v Speaker 1>daughter here in the United States, and so the defense

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<v Speaker 1>made an argument, a strong argument that hey, you know,

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<v Speaker 1>she's not going to go anywhere. Why would she go anywhere?

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<v Speaker 1>She's got all these ties. But thankfully for us, the

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<v Speaker 1>judge detained her. And although I can't say for certain,

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<v Speaker 1>I would think that being detained would weigh on someone

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<v Speaker 1>and make them more likely to want to cooperate and

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<v Speaker 1>tell us what really happened. The judge said, no, I'm

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<v Speaker 1>going to keep you detained because I think you've you

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<v Speaker 1>you are a flight risk, and so you know, if

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<v Speaker 1>that was that, she she went back into the m

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<v Speaker 1>c C or the m d C, one of the

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<v Speaker 1>two facilities that are used. Well, yeah, you don't want

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<v Speaker 1>to be there, trust me. She was not in the

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<v Speaker 1>most difficult spot where like the terrorists and Burne made

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<v Speaker 1>off go. But no, you don't. You know, you don't

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<v Speaker 1>want to spend any time there. If you can, if

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<v Speaker 1>you can help it. A few months in prison was

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<v Speaker 1>all Glafa needed. The con was over and there was

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<v Speaker 1>no one worth protecting. At the cost of sacrificing her freedom,

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<v Speaker 1>Gafara decided to cooperate, and she provided information about Carlos

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<v Speaker 1>and about Patience, and after it was clear that Glifer

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<v Speaker 1>was telling the truth. The government agreed to release her

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<v Speaker 1>un bail. Rosales spilled the entire story to investigators. In

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<v Speaker 1>September two thirteen, she pled guilty to nine counts, including

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<v Speaker 1>one count of money laundering, one count of wire fraud,

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<v Speaker 1>and three counts of falsifying income tax returns. She had

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<v Speaker 1>pocketed twenty six million dollars and paid no Texas. Despite

0:14:07.640 --> 0:14:11.520
<v Speaker 1>her testimony, Fia was facing as much as nine years

0:14:11.559 --> 0:14:15.559
<v Speaker 1>in prison. But this was only the bail hearing. The

0:14:15.679 --> 0:14:20.480
<v Speaker 1>sentencing would come much later, you know, as we later learned,

0:14:20.520 --> 0:14:23.960
<v Speaker 1>because of her cooperation, really only because of her cooperation,

0:14:24.120 --> 0:14:28.280
<v Speaker 1>we've got the two burgan Tinos brothers and Psian you know, involved,

0:14:28.760 --> 0:14:32.800
<v Speaker 1>and that really broke down the door, okay, to a

0:14:32.960 --> 0:14:38.680
<v Speaker 1>wealth of information that only came from her. But as

0:14:39.240 --> 0:14:41.760
<v Speaker 1>you know most people know, Py Sian as soon as

0:14:41.800 --> 0:14:44.200
<v Speaker 1>he heard that we were on his tail, took off

0:14:44.240 --> 0:14:47.400
<v Speaker 1>to China, a country that does not extradite its own nationals.

0:14:48.280 --> 0:14:53.160
<v Speaker 1>I'm personally much more upset with the Spanish court's decision

0:14:53.200 --> 0:15:01.680
<v Speaker 1>to non extradite the Bergantino brothers. Amazingly, from a criminal standpoint,

0:15:02.200 --> 0:15:06.440
<v Speaker 1>things were looking good for and freedman. If we thought

0:15:06.480 --> 0:15:08.760
<v Speaker 1>that we could prove beyond a reasonable doubt to twelve

0:15:08.840 --> 0:15:12.480
<v Speaker 1>people that other people knew the aspects of the scheme,

0:15:12.600 --> 0:15:15.680
<v Speaker 1>the critical aspects of the scheme, then we would have

0:15:15.920 --> 0:15:19.440
<v Speaker 1>brought a case. But you know, you've got to have proof.

0:15:19.520 --> 0:15:21.960
<v Speaker 1>You've got to have proof that's admissible in court that

0:15:22.400 --> 0:15:25.040
<v Speaker 1>you know someone who was selling the paintings, whether it's

0:15:25.760 --> 0:15:28.800
<v Speaker 1>Fa as the consigner or and you also have to

0:15:28.880 --> 0:15:31.840
<v Speaker 1>prove that she knows that they are fake. So, you know,

0:15:32.040 --> 0:15:35.280
<v Speaker 1>here you're dealing with a situation where a freedman's first

0:15:35.280 --> 0:15:38.240
<v Speaker 1>point of contact, Lafia, is lying to her about the provenance.

0:15:38.840 --> 0:15:41.520
<v Speaker 1>And again the provenance has elements of it that have

0:15:41.760 --> 0:15:44.200
<v Speaker 1>elements of truth. You know, Sorry, it was a real person.

0:15:44.360 --> 0:15:47.360
<v Speaker 1>Herbert was a real person. It is actually the case

0:15:47.480 --> 0:15:50.000
<v Speaker 1>that a lot of art is found, you know, from

0:15:50.080 --> 0:15:53.240
<v Speaker 1>time to time. What we did in this case was

0:15:53.440 --> 0:15:56.280
<v Speaker 1>we took it as far as we thought the evidence

0:15:56.320 --> 0:16:05.960
<v Speaker 1>that we had would take it. FA had done her

0:16:06.080 --> 0:16:09.960
<v Speaker 1>part and broken the case wide open for investigators. The

0:16:10.040 --> 0:16:13.240
<v Speaker 1>bergen Tino's brothers fled the United States for Spain, a

0:16:13.360 --> 0:16:17.520
<v Speaker 1>country beyond the reach of US extradition. The artist patient

0:16:17.640 --> 0:16:21.360
<v Speaker 1>Quan hurriedly returned home to China, another country out of

0:16:21.440 --> 0:16:25.000
<v Speaker 1>reach from u S authorities. That left only Michael Hammer

0:16:25.360 --> 0:16:31.480
<v Speaker 1>and Ann Friedman. Neither would be prosecuted on criminal charges

0:16:31.880 --> 0:16:35.760
<v Speaker 1>or simply wasn't enough proof, but both were still subject

0:16:35.840 --> 0:16:39.240
<v Speaker 1>to civil suits, where a jury only needed to conclude

0:16:39.640 --> 0:16:42.320
<v Speaker 1>that a defendant was more than fifty likely to have

0:16:42.400 --> 0:16:48.160
<v Speaker 1>committed a crime. Monetary settlements from civil suits could inflict

0:16:48.200 --> 0:16:51.880
<v Speaker 1>their own kind of severe punishment. The fear of such

0:16:52.040 --> 0:16:55.520
<v Speaker 1>verdicts had led the Knoedler to settle with Pierre Legrange.

0:16:56.760 --> 0:17:00.400
<v Speaker 1>As for the Souls, their showdown with Ann Eatment and

0:17:00.480 --> 0:17:06.440
<v Speaker 1>the Knodler was about to begin. Some three dozen journalists,

0:17:06.560 --> 0:17:10.000
<v Speaker 1>including our own Michael Schneyerson, who were bent over their

0:17:10.080 --> 0:17:14.360
<v Speaker 1>notepads that day in the classically high ceiling, oak paneled courtroom.

0:17:15.440 --> 0:17:19.200
<v Speaker 1>The trial began on a Monday in January two thou sixteen.

0:17:20.280 --> 0:17:22.760
<v Speaker 1>The list of names who weren't present in court that

0:17:22.880 --> 0:17:27.639
<v Speaker 1>day was almost as interesting as who was. Lafara Rosalee

0:17:27.920 --> 0:17:31.960
<v Speaker 1>wasn't there. Having served three months in jail before admitting

0:17:32.040 --> 0:17:35.840
<v Speaker 1>her guilt, she was now agonizing over what further sentence

0:17:36.119 --> 0:17:38.960
<v Speaker 1>she would have to serve and wondering how she would

0:17:39.000 --> 0:17:43.040
<v Speaker 1>come up with eighty million dollars in compensation for her victims.

0:17:46.720 --> 0:17:49.960
<v Speaker 1>The Bergen, Tino's brothers were still in Spain, Quan was

0:17:50.040 --> 0:17:55.080
<v Speaker 1>in China, even Michael Hammer was absent in court. Hammer

0:17:55.160 --> 0:17:58.400
<v Speaker 1>had not appeared once from behind the Knodler doors since

0:17:58.440 --> 0:18:03.640
<v Speaker 1>the gallery closed, nor granted any interviews. But after eighteen

0:18:03.800 --> 0:18:07.280
<v Speaker 1>years or so of the forgery ring, Michael Hammer looked

0:18:07.359 --> 0:18:10.480
<v Speaker 1>more and more like a key player, no less so

0:18:11.040 --> 0:18:15.240
<v Speaker 1>than Ann Friedman, As much was told in a lawsuit

0:18:15.320 --> 0:18:18.080
<v Speaker 1>filed by one of the victims, casino owner Frank for

0:18:18.240 --> 0:18:21.200
<v Speaker 1>Tita the Third, who in two thousand eight bought a

0:18:21.240 --> 0:18:25.200
<v Speaker 1>fake Rothco for seven point two million dollars. Hammer, the

0:18:25.280 --> 0:18:29.000
<v Speaker 1>complaint detailed, knew that Knodler bought the paintings from Rosale's

0:18:29.040 --> 0:18:32.400
<v Speaker 1>for shockingly low prices and quickly resold them for enormous

0:18:32.440 --> 0:18:38.200
<v Speaker 1>markups for Tita alleged quote. In all, Knoedler resold the

0:18:38.359 --> 0:18:41.159
<v Speaker 1>Rosealves paintings for a total of sixty three point eight

0:18:41.240 --> 0:18:46.000
<v Speaker 1>million dollars, realizing gross profits of approximately forty eight point

0:18:46.080 --> 0:18:50.240
<v Speaker 1>seven million dollars. Hammer, acting on behalf of Notler and

0:18:50.520 --> 0:18:53.920
<v Speaker 1>his foundation eight thirty one, saw two of the tens

0:18:54.000 --> 0:18:57.240
<v Speaker 1>of millions of dollars in profit be distributed largely to

0:18:57.400 --> 0:19:09.840
<v Speaker 1>himself and Ann Friedman through a Friedman and Hammer had

0:19:09.880 --> 0:19:12.639
<v Speaker 1>a meeting in the early days of the scandal, and

0:19:12.880 --> 0:19:16.800
<v Speaker 1>a handwritten memo survived their talk to surface later in

0:19:16.960 --> 0:19:21.560
<v Speaker 1>Fatita's complaint. It was unclear whether the notes were taken

0:19:21.640 --> 0:19:25.440
<v Speaker 1>by Freedman or Hammer, but the sentiments were in technicolor

0:19:26.520 --> 0:19:29.639
<v Speaker 1>Discreet sources are my stock and trade. When one of

0:19:29.720 --> 0:19:33.240
<v Speaker 1>the comments, don't kill the goose that's laying the golden egg,

0:19:33.440 --> 0:19:36.480
<v Speaker 1>went another, and I am not going to change my

0:19:36.600 --> 0:19:40.200
<v Speaker 1>way of doing business. If you were not comfortable, step away.

0:19:46.119 --> 0:19:49.000
<v Speaker 1>And Friedman was in the courtroom the day the desolas

0:19:49.119 --> 0:19:54.000
<v Speaker 1>child began. She sat quietly beside her lawyers, wreathed in

0:19:54.080 --> 0:19:57.680
<v Speaker 1>her soft white curls, dressed in black, beige and gray,

0:19:58.240 --> 0:20:01.560
<v Speaker 1>saying nothing. As the witnesses began to come forward, she

0:20:01.800 --> 0:20:04.760
<v Speaker 1>too would be forced to testify if the trial went

0:20:04.840 --> 0:20:10.240
<v Speaker 1>as planned. Luke Nichoas and Freedman's lawyer, had a novel defense.

0:20:10.400 --> 0:20:14.520
<v Speaker 1>As it turned out. He argued that thess were responsible

0:20:14.600 --> 0:20:19.640
<v Speaker 1>for checking their paintings authenticity themselves. They were, after all,

0:20:19.760 --> 0:20:25.160
<v Speaker 1>sophisticated art buyers. By that logic, Nikos suggested the jury

0:20:25.200 --> 0:20:28.960
<v Speaker 1>shouldn't blame Noldler for selling the their fake art. The

0:20:29.080 --> 0:20:33.120
<v Speaker 1>customers were the ones to blame for buying it. As

0:20:33.200 --> 0:20:37.240
<v Speaker 1>for Anne, she was a salesperson, not an expert. They declared.

0:20:38.119 --> 0:20:41.280
<v Speaker 1>She was just doing her job, selling paintings and earning

0:20:41.359 --> 0:20:46.520
<v Speaker 1>profits for the gallery. Here's Luke Nichos with Anne. I

0:20:46.640 --> 0:20:50.200
<v Speaker 1>certainly wanted to believe, but and I looked at the

0:20:50.240 --> 0:20:53.440
<v Speaker 1>evidence and where the evidence show and what the evidence

0:20:53.440 --> 0:20:55.560
<v Speaker 1>showed to me separate and apart from what Anne was

0:20:55.640 --> 0:20:59.600
<v Speaker 1>telling me was emails from a guy like David ann

0:20:59.680 --> 0:21:03.360
<v Speaker 1>Fam are the most significant experts and at abstract expressionism.

0:21:03.720 --> 0:21:07.119
<v Speaker 1>What did David an Fem say about these works? He

0:21:07.240 --> 0:21:09.800
<v Speaker 1>wrote an email in May of two thousand eight to

0:21:09.920 --> 0:21:13.280
<v Speaker 1>Jack Flamm from the Dadalist Foundation, and that email said,

0:21:13.280 --> 0:21:16.840
<v Speaker 1>I can't think of any reason to deem this newman

0:21:17.040 --> 0:21:21.680
<v Speaker 1>from the Resolves collection. This newman inauthentic. He went on

0:21:21.800 --> 0:21:24.679
<v Speaker 1>to say in the same email, I've seen the Krasners,

0:21:24.680 --> 0:21:27.280
<v Speaker 1>I've seen the Pollux, the roth Codes, the clients and Stills,

0:21:27.880 --> 0:21:33.119
<v Speaker 1>and I believe in these works. Now he acknowledged that

0:21:33.200 --> 0:21:36.840
<v Speaker 1>the story was murky acknowledged that the ownership was unknown.

0:21:37.359 --> 0:21:39.320
<v Speaker 1>But the reality is I saw an email like that

0:21:39.520 --> 0:21:41.520
<v Speaker 1>from David and fam and I thought, if David and

0:21:41.680 --> 0:21:44.399
<v Speaker 1>fem saying that, who am I the lawyer without this expertise?

0:21:44.640 --> 0:21:48.159
<v Speaker 1>Let me dig further. I think it's important to understand

0:21:49.000 --> 0:21:51.760
<v Speaker 1>what I concluded about whether they were authentic or not.

0:21:51.960 --> 0:21:55.119
<v Speaker 1>Wasn't the point. My point is I had no expertise

0:21:55.200 --> 0:21:59.080
<v Speaker 1>in whether they were authentic or not. The core question always, always,

0:21:59.200 --> 0:22:03.280
<v Speaker 1>always was what did Ann Friedman believe and what did

0:22:03.359 --> 0:22:10.480
<v Speaker 1>she have reason to believe based in the facts. Early

0:22:10.560 --> 0:22:14.040
<v Speaker 1>in the trial, attorneys for the plaintiffs presented a fascinating

0:22:14.080 --> 0:22:17.320
<v Speaker 1>exhibit to the court, the Doles eight point three million

0:22:17.400 --> 0:22:21.280
<v Speaker 1>dollar fake Rothcoe. The thing I remember about it being

0:22:21.359 --> 0:22:24.720
<v Speaker 1>physically in the courtroom the most is that the defendants

0:22:25.160 --> 0:22:28.000
<v Speaker 1>immediately wanted a sidebar with the judge because they felt

0:22:28.080 --> 0:22:34.159
<v Speaker 1>that the painting smelled new. This is the dissillis attorneys again.

0:22:35.119 --> 0:22:39.960
<v Speaker 1>I think the issue was, like all artwork that's transported responsibly,

0:22:40.200 --> 0:22:43.119
<v Speaker 1>it was in a wooden crate, so the wood was

0:22:43.280 --> 0:22:46.200
<v Speaker 1>just secured with screws, and the crate got unscrewed, and

0:22:46.280 --> 0:22:48.920
<v Speaker 1>it creates that kind of wood smell in the air,

0:22:49.880 --> 0:22:55.119
<v Speaker 1>which made the painting smell like fresh wood, and so

0:22:55.359 --> 0:22:58.879
<v Speaker 1>they felt it was prejudicial that the painting would smell

0:22:59.240 --> 0:23:03.720
<v Speaker 1>so obvious we like fresh And the judge had to

0:23:03.800 --> 0:23:07.399
<v Speaker 1>go over the and smell the painting to assess, and

0:23:08.119 --> 0:23:10.119
<v Speaker 1>he was, like he said on the record, he was like,

0:23:10.160 --> 0:23:12.280
<v Speaker 1>I can't believe I'm going over to smell the painting.

0:23:13.520 --> 0:23:16.199
<v Speaker 1>Trudge over. He smelled it, and I think they did

0:23:16.359 --> 0:23:21.520
<v Speaker 1>move it. Yeah, yeah, but they left it out, but

0:23:21.960 --> 0:23:25.320
<v Speaker 1>I thought. I remember it was very dramatic. We carried

0:23:25.440 --> 0:23:28.840
<v Speaker 1>the painting over someplace and you know, there was like

0:23:28.920 --> 0:23:32.399
<v Speaker 1>a hush in the room. Were like a gas because

0:23:33.040 --> 0:23:34.840
<v Speaker 1>people in the art world are so used to such

0:23:34.920 --> 0:23:37.800
<v Speaker 1>delicate handling and white glove handling of works like this,

0:23:37.960 --> 0:23:39.680
<v Speaker 1>and you know it was a fake, so that we

0:23:39.800 --> 0:23:41.720
<v Speaker 1>just picked it up with our bare hands. We were

0:23:41.760 --> 0:23:44.440
<v Speaker 1>not professional. There was the other moment, the funny moment

0:23:44.480 --> 0:23:48.119
<v Speaker 1>with the painting, when Pulkari said on the stand, like,

0:23:48.440 --> 0:23:50.399
<v Speaker 1>I think it's supposed to be the other way, you know,

0:23:50.520 --> 0:23:53.440
<v Speaker 1>like its upside down. Even Stephen Poli was one of

0:23:53.520 --> 0:23:57.760
<v Speaker 1>the two quote unquote experts who Knowler had hired and

0:23:57.880 --> 0:24:00.920
<v Speaker 1>paid to look at some of these works, and when

0:24:00.920 --> 0:24:03.639
<v Speaker 1>he testified about the Rothcoe, he testified that it did

0:24:03.680 --> 0:24:10.920
<v Speaker 1>it couldn't usually tell with Rothco's which weighs up. A

0:24:11.040 --> 0:24:14.119
<v Speaker 1>day or two into the trial, the Doles took the

0:24:14.240 --> 0:24:19.000
<v Speaker 1>stand to tell the story of their fake Rothco. Eleanor

0:24:19.280 --> 0:24:24.800
<v Speaker 1>was emotional, Domenico fierce. Both were heartfelt, taking breaks to

0:24:24.880 --> 0:24:28.160
<v Speaker 1>chat up the press, but they would find themselves subject

0:24:28.240 --> 0:24:31.800
<v Speaker 1>to the occasional bit of snarkiness for bringing rich people's

0:24:31.880 --> 0:24:37.760
<v Speaker 1>problems into the courtroom. With the Doles done on cross examination,

0:24:38.240 --> 0:24:41.920
<v Speaker 1>the trial turned to Ann Friedman's list of eleven experts

0:24:41.960 --> 0:24:46.320
<v Speaker 1>whose names she had used to authenticate her paintings. None

0:24:46.400 --> 0:24:49.200
<v Speaker 1>of the eleven had wished to be on that list.

0:24:50.720 --> 0:24:54.600
<v Speaker 1>What emerged was what we showed that trial with the

0:24:54.680 --> 0:25:00.520
<v Speaker 1>witness testimony, that there were no experts who authenticated the paintings.

0:25:01.080 --> 0:25:04.080
<v Speaker 1>For another, it just didn't happen. You know. The story

0:25:04.320 --> 0:25:06.800
<v Speaker 1>that the defendants were selling that they believe the works

0:25:06.840 --> 0:25:10.720
<v Speaker 1>were real and the experts authenticated, that was just absolutely rebutted,

0:25:11.119 --> 0:25:16.240
<v Speaker 1>totally debunked. With respect to David Ampham, he never was

0:25:16.400 --> 0:25:22.320
<v Speaker 1>shown a Rothco despite being the world's leading expert in

0:25:22.480 --> 0:25:24.680
<v Speaker 1>Rothko I don't think it's a coincidence that he was

0:25:24.720 --> 0:25:29.400
<v Speaker 1>never shown any the rathcos not one. Not only had

0:25:29.480 --> 0:25:33.560
<v Speaker 1>I not seen the Disoli painting, I'd never even been

0:25:33.600 --> 0:25:37.320
<v Speaker 1>in the same moon with it. What I got was

0:25:37.600 --> 0:25:42.200
<v Speaker 1>a package with a transparencive a painting, a note for

0:25:42.400 --> 0:25:47.359
<v Speaker 1>man dated July and pretty so this was two thousand

0:25:47.400 --> 0:25:51.600
<v Speaker 1>and five. I picked it up, looks at the transparencies

0:25:51.640 --> 0:25:54.240
<v Speaker 1>were about twenty seconds, and put it in the file,

0:25:54.800 --> 0:25:57.200
<v Speaker 1>filed it away and did not look at it again

0:25:57.400 --> 0:26:01.560
<v Speaker 1>until then. That's the time of the drial. It sounds

0:26:01.600 --> 0:26:05.640
<v Speaker 1>as if Anne was doing her best to circulate your

0:26:05.800 --> 0:26:10.720
<v Speaker 1>name and your approval of this painting. Is that true? Yes,

0:26:10.880 --> 0:26:13.680
<v Speaker 1>it's true. I didn't know of the time. I have

0:26:13.920 --> 0:26:16.879
<v Speaker 1>to say that from the perspective of the present, I

0:26:17.000 --> 0:26:21.840
<v Speaker 1>felt I was being manipulated, and I don't take commory

0:26:21.920 --> 0:26:26.040
<v Speaker 1>to that. And when I saw the letter, which had

0:26:26.080 --> 0:26:29.040
<v Speaker 1>a list of people who had seen the dissol A painting,

0:26:29.119 --> 0:26:32.639
<v Speaker 1>starting with Christopher off Go, followed by myself, I was

0:26:32.680 --> 0:26:36.879
<v Speaker 1>absolutely shocked. I couldn't believe that my name has been

0:26:37.000 --> 0:26:40.800
<v Speaker 1>put in a letter without my knowing it, without my approval,

0:26:41.040 --> 0:26:47.280
<v Speaker 1>and effectively so any buyer, it could be constituted as

0:26:47.280 --> 0:26:55.640
<v Speaker 1>a kind of authentication by Foxing. As the trial entered

0:26:55.720 --> 0:27:01.560
<v Speaker 1>its second week on February sixteen, as of excitement permeated

0:27:01.600 --> 0:27:07.520
<v Speaker 1>the courtroom. After all this warm up, An Friedman was

0:27:07.640 --> 0:27:12.240
<v Speaker 1>due to testify at last. Oddly, however, the judge's chair

0:27:12.359 --> 0:27:16.160
<v Speaker 1>remained empty as the ten am hour came and went.

0:27:17.760 --> 0:27:20.960
<v Speaker 1>At last, the judge reappeared and announced in open court

0:27:21.359 --> 0:27:27.359
<v Speaker 1>that a settlement had been reached from the dess Grins.

0:27:27.760 --> 0:27:32.479
<v Speaker 1>Their gambit had paid off. As for Ann Friedman's lawyers,

0:27:32.840 --> 0:27:37.000
<v Speaker 1>they looked relieved. Whatever they had agreed to pay, it

0:27:37.160 --> 0:27:40.960
<v Speaker 1>was probably less than the million dollar RICO payment that

0:27:41.080 --> 0:27:47.439
<v Speaker 1>Theses were demanding. The trial, however, would continue because Michael

0:27:47.480 --> 0:27:50.200
<v Speaker 1>Hammer and his eight thirty one foundation were not yet

0:27:50.280 --> 0:27:55.560
<v Speaker 1>off the hook. Hammer's chief financial officer testified that Hammer,

0:27:55.680 --> 0:28:00.920
<v Speaker 1>her boss, had awarded himself some twenty luxury cars, including

0:28:01.000 --> 0:28:05.200
<v Speaker 1>a four hundred two dollar Rose Royce and a five

0:28:06.200 --> 0:28:10.000
<v Speaker 1>dollar Mercedes. That was all in addition to a four

0:28:10.119 --> 0:28:13.720
<v Speaker 1>hundred thousand dollars salary he paid himself from his Knodler

0:28:13.840 --> 0:28:19.000
<v Speaker 1>piggy bank. Anne was scheduled to testify that Wednesday against

0:28:19.040 --> 0:28:21.520
<v Speaker 1>her former boss about how much the two of them

0:28:21.560 --> 0:28:24.840
<v Speaker 1>had profited from selling forty plus fake paintings that had

0:28:24.920 --> 0:28:28.800
<v Speaker 1>come through the Knodler. Once again, the judge and counselor

0:28:28.840 --> 0:28:33.840
<v Speaker 1>has disappeared behind closed doors and emerged appearing satisfied a

0:28:33.920 --> 0:28:37.040
<v Speaker 1>private settlement had been reached between the Desoles and A

0:28:37.200 --> 0:28:45.600
<v Speaker 1>thirty one. The trial was finally over some weeks later,

0:28:46.240 --> 0:28:50.280
<v Speaker 1>and agreed to speak to the press. From the start,

0:28:50.440 --> 0:28:53.880
<v Speaker 1>Friedman said she had regarded the David Herbert collection as

0:28:53.880 --> 0:28:57.480
<v Speaker 1>a quote puzzle to be solved. She had tried to

0:28:57.680 --> 0:29:01.719
<v Speaker 1>extract more information from GlyP Era every time Rosalee arrived

0:29:01.800 --> 0:29:06.240
<v Speaker 1>with another painting. Only with Rosalee's confession had an realized

0:29:06.680 --> 0:29:11.360
<v Speaker 1>how thoroughly and classically duped she'd been. Or so she said,

0:29:12.680 --> 0:29:15.600
<v Speaker 1>when you ask a calm artist a question, they say, aha,

0:29:16.240 --> 0:29:17.920
<v Speaker 1>I see what you mean. Let me check it out,

0:29:18.320 --> 0:29:22.640
<v Speaker 1>and miraculously they have the answers and be called. She

0:29:22.800 --> 0:29:26.600
<v Speaker 1>called herself a perfect mark and added I have never

0:29:26.760 --> 0:29:31.720
<v Speaker 1>deliberately done something wrong, which is to say knowingly. But

0:29:31.880 --> 0:29:37.080
<v Speaker 1>then she added a jarring remark, I am terribly sorry

0:29:37.160 --> 0:29:40.400
<v Speaker 1>for anybody hurt or damaged, but let me be clear,

0:29:41.080 --> 0:29:44.800
<v Speaker 1>this is about works of art. I didn't slay anybody's

0:29:44.880 --> 0:29:49.960
<v Speaker 1>first born. We have to have some perspective on suffering, or,

0:29:50.080 --> 0:29:53.840
<v Speaker 1>as a sympathetic historian apparently told her, we all need

0:29:54.440 --> 0:30:03.880
<v Speaker 1>to get over it. More art fraud in a minute.

0:30:05.680 --> 0:30:08.920
<v Speaker 1>The Disilers lawyers felt pleased they've gotten their clients the

0:30:09.000 --> 0:30:12.440
<v Speaker 1>outcome they wanted, but the settlement allowed Freedman to crow

0:30:13.120 --> 0:30:15.360
<v Speaker 1>and declared she would have gladly had the trial go on,

0:30:15.960 --> 0:30:17.959
<v Speaker 1>and was sure that jury would have found her innocent,

0:30:18.080 --> 0:30:21.800
<v Speaker 1>if only on a technicality. The Disols lawyers roll their

0:30:21.840 --> 0:30:25.880
<v Speaker 1>eyes at that things got resolved before the journey got

0:30:25.920 --> 0:30:28.560
<v Speaker 1>to reach its verdict. But you know, we did speak

0:30:28.680 --> 0:30:33.360
<v Speaker 1>to the jurors afterwards. They were completely convinced that she

0:30:33.560 --> 0:30:38.080
<v Speaker 1>knew exactly what she was doing. Despite the fact that

0:30:38.160 --> 0:30:40.760
<v Speaker 1>a jury never actually ruled on the case in court,

0:30:41.400 --> 0:30:44.400
<v Speaker 1>the Doss and their lawyers saw the outcome as an

0:30:44.440 --> 0:30:49.480
<v Speaker 1>overwhelming victory. I think that you're looking maybe you're suggesting

0:30:49.560 --> 0:30:52.680
<v Speaker 1>that you need a verdict through your story. I don't

0:30:52.720 --> 0:30:54.720
<v Speaker 1>think so. I think you need to tell the story

0:30:55.000 --> 0:30:57.520
<v Speaker 1>and put it out there to show what happened. And

0:30:57.600 --> 0:31:00.080
<v Speaker 1>they did a d of that, and it's not a

0:31:00.200 --> 0:31:05.240
<v Speaker 1>coincidence that the five cases that were pending you know

0:31:05.320 --> 0:31:08.720
<v Speaker 1>at the time we settled, also all settled and no

0:31:08.840 --> 0:31:11.640
<v Speaker 1>one went to trial. You know, I'd say, you know,

0:31:11.800 --> 0:31:14.840
<v Speaker 1>no other and Freedman and Freedman didn't step up to

0:31:15.000 --> 0:31:17.400
<v Speaker 1>defend themselves and go to trial on any of those

0:31:17.440 --> 0:31:22.000
<v Speaker 1>five cases that followed. The rulings made it crystal clear that,

0:31:22.560 --> 0:31:25.560
<v Speaker 1>you know, collectors have the right to reasonably rely on

0:31:25.680 --> 0:31:29.800
<v Speaker 1>reputable galleries, and that it's the reputable galleries obligation to

0:31:30.000 --> 0:31:32.480
<v Speaker 1>come forward with what they know and what they don't

0:31:32.520 --> 0:31:37.000
<v Speaker 1>know about works that they're selling. As attorney Luke Nicas felt,

0:31:37.000 --> 0:31:39.680
<v Speaker 1>the settlement only confirmed the case that he had argued.

0:31:40.640 --> 0:31:44.760
<v Speaker 1>Not only was she not prosecuted, but when the superseding

0:31:44.800 --> 0:31:49.240
<v Speaker 1>indictment came out, in which Glafira Resolis had told her

0:31:49.360 --> 0:31:52.560
<v Speaker 1>story to the federal government, it was clear from that

0:31:52.720 --> 0:31:57.120
<v Speaker 1>indictment that Anne was not implicated at all in the

0:31:57.320 --> 0:32:02.360
<v Speaker 1>underlying crime. He had every reason to throw in under

0:32:02.400 --> 0:32:05.480
<v Speaker 1>the bus. Her boyfriend had every reason to throw in

0:32:05.720 --> 0:32:09.680
<v Speaker 1>under the bus. The painter did. Everyone did, and at

0:32:09.760 --> 0:32:12.760
<v Speaker 1>least from that superseding indictment, it was clear they didn't.

0:32:13.760 --> 0:32:16.160
<v Speaker 1>And when you look at all of the information, not

0:32:16.320 --> 0:32:18.560
<v Speaker 1>just pieces of it, and you put it together and

0:32:18.680 --> 0:32:22.479
<v Speaker 1>you ask did Anne believe these works were fake at

0:32:22.560 --> 0:32:25.160
<v Speaker 1>the time, I just don't think you can get there.

0:32:25.440 --> 0:32:28.200
<v Speaker 1>You can say she made mistakes, but the prosecutor needs

0:32:28.280 --> 0:32:30.640
<v Speaker 1>to prove beyond that, and I don't think they could.

0:32:35.040 --> 0:32:40.880
<v Speaker 1>It had now been three years since was arrested, three birthdays,

0:32:41.080 --> 0:32:45.320
<v Speaker 1>three Christmas, is out on bail, nervously awaiting her sentence

0:32:45.680 --> 0:32:50.240
<v Speaker 1>on nine federal charges. During that time, Rosalee had broken

0:32:50.400 --> 0:32:53.480
<v Speaker 1>no laws and had helped prosecutors to the extent that

0:32:53.560 --> 0:32:57.880
<v Speaker 1>she could to track down the Bergantino's brothers. They remained

0:32:57.960 --> 0:33:03.400
<v Speaker 1>at large due to Spain's changing extradition rules. In weighing

0:33:03.520 --> 0:33:07.680
<v Speaker 1>her sentence, Judge Faiala had listened to Lafas story of

0:33:07.800 --> 0:33:11.640
<v Speaker 1>physical and emotional abuse at the hands of Carlos and

0:33:11.800 --> 0:33:16.880
<v Speaker 1>found it credible. As Jason Hernandez suggested, the judge had

0:33:16.920 --> 0:33:19.960
<v Speaker 1>seen a culprit left holding the bag while the rest

0:33:20.040 --> 0:33:24.760
<v Speaker 1>of the ring went free. Enough was enough. In January

0:33:24.880 --> 0:33:29.240
<v Speaker 1>two thousand seventeen, the judge sentenced her to time already

0:33:29.320 --> 0:33:34.200
<v Speaker 1>served eighty two days. Lafra was a free woman. She

0:33:34.440 --> 0:33:40.440
<v Speaker 1>was also broke, but their lives are very difficult because

0:33:41.080 --> 0:33:44.520
<v Speaker 1>everything that they had could be traceable to, you know,

0:33:44.680 --> 0:33:49.600
<v Speaker 1>their art business, which was fraudulent or infected with frauds.

0:33:49.680 --> 0:33:52.120
<v Speaker 1>So everything was seized. Their home was seized, all of

0:33:52.160 --> 0:33:54.520
<v Speaker 1>their money was seized, all of the art was seized,

0:33:54.680 --> 0:33:57.400
<v Speaker 1>and so far in her late fifties, had to build

0:33:57.440 --> 0:34:01.959
<v Speaker 1>herself back up. So she now works part time as

0:34:01.960 --> 0:34:05.320
<v Speaker 1>a hostess in a restaurant in her sixties and as

0:34:05.360 --> 0:34:09.120
<v Speaker 1>a waitress from time to time, and solely is involved

0:34:09.160 --> 0:34:12.560
<v Speaker 1>in the art business and is building her own business

0:34:13.040 --> 0:34:16.160
<v Speaker 1>and knows how to do it right, and is supporting

0:34:16.200 --> 0:34:18.840
<v Speaker 1>her mother. And so you have the story of a

0:34:18.920 --> 0:34:22.040
<v Speaker 1>daughter supporting her mother and their father is still very

0:34:22.120 --> 0:34:25.680
<v Speaker 1>much very antagonistic. Carlos is very antagonistic, but he's he's

0:34:25.719 --> 0:34:28.440
<v Speaker 1>off in Spain. The government, as you probably tried to

0:34:28.520 --> 0:34:37.040
<v Speaker 1>extradate him and was unsuccessful in doing so. The fall

0:34:37.160 --> 0:34:40.600
<v Speaker 1>of the Knodler Gallery would have rippling effects throughout the

0:34:40.760 --> 0:34:46.000
<v Speaker 1>art world. Gretchen Deep and Corn described the seismic shift

0:34:46.080 --> 0:34:50.960
<v Speaker 1>and trust between client and gallery. I think it's terrible

0:34:51.040 --> 0:34:55.360
<v Speaker 1>for the art market. For example, right after the first

0:34:55.640 --> 0:35:00.200
<v Speaker 1>revelations in the New York Times story, the dealer. Our

0:35:00.239 --> 0:35:03.920
<v Speaker 1>current dealer began getting phone calls about, oh dear, it

0:35:04.520 --> 0:35:06.920
<v Speaker 1>is the work that I bought? Is it real? And

0:35:07.040 --> 0:35:10.520
<v Speaker 1>it wasn't only our dealer, it was others. And then

0:35:11.239 --> 0:35:16.640
<v Speaker 1>all of the dealers are under suspicion now because it's

0:35:16.719 --> 0:35:24.200
<v Speaker 1>never been a field that has seemed entirely squeaky clean anyway,

0:35:24.440 --> 0:35:27.879
<v Speaker 1>because things happen, you know, people get better. One person

0:35:28.000 --> 0:35:30.479
<v Speaker 1>gets a good deal, the next person doesn't, and they're

0:35:30.840 --> 0:35:35.000
<v Speaker 1>they're mad, and so, I mean, nobody trusts anybody in

0:35:35.120 --> 0:35:38.680
<v Speaker 1>this kind of world anyway in some way. But this

0:35:38.880 --> 0:35:44.280
<v Speaker 1>made it a hundred times worse. David and fam didn't

0:35:44.360 --> 0:35:48.600
<v Speaker 1>hold back in his blistering opinion of the Knoedler scandal.

0:35:49.920 --> 0:35:53.160
<v Speaker 1>In hindsight, I think the whole Knodler story will go

0:35:53.400 --> 0:35:56.080
<v Speaker 1>down as one of the worst scandals of its kind,

0:35:56.800 --> 0:36:00.920
<v Speaker 1>indeed probably the most shameful for law go in the

0:36:01.040 --> 0:36:06.440
<v Speaker 1>Annals of Martin. What could prove even more interesting is

0:36:06.520 --> 0:36:09.879
<v Speaker 1>a verdict of history upon whoever the gods as being

0:36:10.000 --> 0:36:13.720
<v Speaker 1>of the episode who of the Soldid saga from first

0:36:13.800 --> 0:36:24.640
<v Speaker 1>to Lost, Having followed the fall of the Knodler Gallery

0:36:24.719 --> 0:36:28.040
<v Speaker 1>from the first revelations of forgery through the trial and

0:36:28.120 --> 0:36:31.320
<v Speaker 1>the half dozen settlements, I'd come to realize that this

0:36:31.480 --> 0:36:34.799
<v Speaker 1>case was far from a once in a lifetime phenomenon.

0:36:36.000 --> 0:36:40.320
<v Speaker 1>As we've heard from countless artists, dealers, and collectors, the

0:36:40.560 --> 0:36:44.520
<v Speaker 1>art market has been and remains a target rich environment

0:36:44.640 --> 0:36:48.279
<v Speaker 1>for con artists willing to risk prison time for a

0:36:48.400 --> 0:36:53.680
<v Speaker 1>big score. There's the fascinating case of Intego Philbrick, a

0:36:53.880 --> 0:36:58.480
<v Speaker 1>young and charming London based dealer who oversold fractional shares

0:36:58.560 --> 0:37:01.600
<v Speaker 1>of works by hot new artists in a made off

0:37:01.719 --> 0:37:05.960
<v Speaker 1>like Ponzi scheme. There's also the case of aging artist

0:37:06.120 --> 0:37:11.200
<v Speaker 1>Robert Indiana, creator of the iconic love Works, whose Coterie

0:37:11.280 --> 0:37:13.960
<v Speaker 1>of Assistance on an island off the coast of Maine,

0:37:14.560 --> 0:37:18.479
<v Speaker 1>would be accused of squeezing windfall profits from him, going

0:37:18.640 --> 0:37:24.400
<v Speaker 1>so far as to employ an automatic signature signing machine. Finally,

0:37:24.560 --> 0:37:27.319
<v Speaker 1>there was my own brush with art fraud, in which

0:37:27.320 --> 0:37:30.480
<v Speaker 1>a painting I purchased from an artist I adored through

0:37:30.600 --> 0:37:34.080
<v Speaker 1>his longtime dealer Mary Boone, would end up pitting us

0:37:34.160 --> 0:37:37.200
<v Speaker 1>against each other in a bitter legal battle I never

0:37:37.360 --> 0:37:41.520
<v Speaker 1>could have anticipated. We'll talk about all of those cases

0:37:42.040 --> 0:38:13.800
<v Speaker 1>in our final episode of Art Fraud. Ny Arn't Fraud

0:38:13.920 --> 0:38:17.560
<v Speaker 1>is brought to you by I Heart Radio and Cavalry Audio.

0:38:18.160 --> 0:38:23.360
<v Speaker 1>Our executive producers are Matt del Piano, Keegan Rosenberger, Andy Turner, myself,

0:38:23.719 --> 0:38:28.320
<v Speaker 1>and Michael Snayerson. We're produced by Brandon Morgan and Zach McNeice.

0:38:28.800 --> 0:38:33.160
<v Speaker 1>Zach also edited and mixed this episode. Lindsay Hoffman is

0:38:33.320 --> 0:38:36.960
<v Speaker 1>our managing producer. Our writer is Michael Schneyerson.