Episode Nine: The Cambridge, Woolworth, The Simpsons', and Teri Horton's Clues

Welcome back to Crime & Canvas, the podcast that exposes the hidden truths behind the world's biggest art heist. In previous episodes, we've meticulously unraveled Mary's astonishing encounters with Frederick R. Koch, dove into the incredible artworks, decoded handwritten notes, and followed Suzanne's relentless investigation—all culminating in the undeniable revelation that the Isabella Stewart Gardner Museum Heist has been solved. Last time, we confronted the profound challenge of media silence and pervasive cover-ups.

Now, in Episode 9, we dive into truly intriguing connections that reinforce the pattern of suppression and complicity. We unveil astonishing parallels, revealing a sophisticated criminal mastermind operating within an intricate network of high-value art and collectibles crimes.

Listen now to uncover:

• The Cambridge University Mystery: An astonishing case involving the mysterious theft of Charles Darwin's priceless 'Tree of Life' notebooks and how a 20-year delay in reporting points directly to a billionaire culprit.
• The Woolworth Heist Connection: Explore a major art heist at the Woolworth family home, revealing a surprising figure who links it directly to the Gardner Heist through Frederick R. Koch's deep ties to the Woolworth family.
• 'The Simpsons' Uncanny Foresight: Discover a bizarre pop-culture parallel in 'The Simpsons' that uncannily aligns with Suzanne's theory, depicting a wealthy tycoon in possession of art stolen from the Isabella Stewart Gardner Museum.
• Teri Horton's Echoing Battle: Witness the chillingly precise echoes of Suzanne's fight in the documented struggle of Teri Horton to authenticate her Jackson Pollock, revealing systemic resistance against ordinary people challenging the established art world.

These aren't just isolated events; they're vital clues that paint a clear pattern, hinting at a sophisticated criminal mastermind operating above the law. Suzanne argues that if her mother's art story reaches the public, other victims of the Koch family's alleged art and collectibles crimes—including the Gardner Heist, James Bourlet & Sons fire, Woolworth art heist, and Cambridge's stolen notebooks—will finally come forward.

Join Suzanne as she pulls back another layer of this massive cover-up, exposing the kind of powers that operate above the law and reinforcing her unwavering defiance against those who seek to bury the truth.

Dive into the truth that authorities ignore. The real story continues here.

See documented evidence from this episode at: ⁠⁠https://crimeandcanvaspodcast.com/⁠⁠ 

Join the fight for unheard voices: ⁠⁠https://uhv.news⁠⁠

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The Truth Is Still The Truth Even If No One Believes It!

Transcript

This is Suzanne Kenney and you're listening to the Crime and Canvas Podcast. In the previous episodes, we've meticulously unraveled my mother Mary's astonishing encounters with Frederick R. Koch, dove into the incredible artworks, decoded handwritten notes, and followed my relentless investigation through Miami, the authentication challenges, and the pivotal London fire. All of this has culminated in the undeniable revelation that the Isabella Stewart Gardner Museum art heist has been solved.

Last time, in Episode 8, we confronted the profound challenge that emerged from this discovery: the unrelenting media silence and the pervasive cover-up, exploring the deeply ingrained bias against those who dare to challenge established narratives and powerful interests.

Now, in Episode 9: The Cambridge, Woolworth, The Simpsons', and Teri Horton's Clues, we're going to dive into some truly intriguing connections. These aren't just isolated events; they're vital clues that reinforce the pattern of suppression and complicity we've been discussing. 

We'll start with an astonishing case involving Cambridge University and the mysterious theft of Charles Darwin's priceless 'Tree of Life' notebooks. Then, we'll connect the dots to a major art heist at the Woolworth family home, revealing a surprising figure who links it directly to the Gardner Heist. 

We'll even explore a bizarre pop-culture parallel in 'The Simpsons' that aligns with my theory, and finally, look at the chillingly precise echoes of our battle in the documented fight of a woman named Teri Horton to authenticate her Jackson Pollock. These are all pieces of a larger puzzle, waiting to be seen.

I firmly believe that if we can get my mother's art story into the public, other individuals and institutions who have been impacted by the art and collectibles crimes of the Koch family will finally come forward. The Isabella Stewart Gardner art heist, the James Bourlet & Sons storage art/collectibles fire, the Woolworth art heist, and indeed, Cambridge University's stolen Charles Darwin notebooks – I'm convinced these are not the only art and collectibles crimes linked to the Kochs. The recovery of these stolen items, or at least the truth about them, is possible, but it requires others to step out of the shadows.

For visuals, links and to follow along with the evidence, please visit crimeandcanvaspodcast.com and click on the evidence link in the top navigation.

Having been on the hunt for a 'true, one billion-dollar art crime' involving high-value collectibles, my interest in such complex stories has been growing ever since uncovering an art crime committed by billionaire brothers that involved my mother. So, when on November 24, 2020 – known as Evolution Day – news broke that two Charles Darwin notebooks were stolen from Cambridge University's library over 20 years ago, I was immediately intrigued. The notebooks, containing notes about Darwin's evolution theories and diagrams of the tree of life, were reported to be worth several million dollars. My first thought was: why was such an old theft only being reported now? Why had they waited so long?

When I read the article, (again I didn’t click into this article looking for anything other than curiosity) two striking connections immediately jumped out at me. You can find a link to the article at the evidence tab on the website.  

The First Connection and Deathbed Expectations.

In the University's released statement about the theft, they said they hoped the thief would have returned the notebooks on their deathbed, even referencing a similar theft and outcome at London's Lambeth Palace. This immediately hit home. How did the University know their thief had died? They’d have had to know who the person was. 

One would think it was the person who arranged the original photoshoot of the notebooks. That person must have passed away recently, perhaps 12 to 18 months prior. So, by October 2020, when the University finally reported the theft to the police, they had apparently given up hope that the suspected thief had made things right in their will.

Here’s why this resonated so deeply: two of the very people I suspected in the 'true, one billion-dollar art crime' story – two billionaire brothers – passed away just three months apart, about 12 months before this news broke. So I had spent the past year hoping one of them had made things right in their will, holding onto those same deathbed expectations.

I had to ask myself: WAIT A MINUTE... it can't be that they are referring to the same man in my own deathbed expectations... or can it? The deathbed timeframes did line up exactly.

After conducting an online search, I found an incredibly interesting result that directly linked one of those brothers' names with Charles Darwin. This billionaire brother, David Koch, built a Hall of Human Origins exhibit at the Smithsonian, complete with a $35 million dinosaur exhibit featuring a prominent Charles Darwin statue. This same billionaire brother did an interview discussing his own beliefs in evolution and how much he admires Charles Darwin.You can find a link to the article at the evidence tab of the website.  

So, the Second Connection: The Photoshoot Theft. 

The University stated the notebooks were stolen from a photoshoot. It’s entirely possible that the billionaire brother who built the Origins of Human exhibit at the Smithsonian, David Koch, had arranged for that very photoshoot of the Charles Darwin notebooks for his new exhibit. Who else would be interested in the “Tree of Life” notebooks? Think about it for a moment the “Origins of Human” exhibit. The University then spent the past 20 years doing the largest search in Cambridge University’s history to locate the missing notebooks, perhaps because the billionaire was telling the University their own staff had simply lost them! Given the billionaire's immense wealth and influence, the University might well have felt compelled to keep doing an internal search rather than publicly blaming such a powerful figure. Had it been anyone else you know it wouldn’t have been that narrative.

This narrative truly underlines a critical point: only something a billionaire could get away with for so long. This connects directly to the pattern of billionaires getting away with the art crimes we have been reporting on. 

Then, a crucial connection clicked: the University's twenty-year delay in reporting could only be explained by the immense wealth of their suspected culprit.

Driven by these connections, on November 24, 2020, I sent Cambridge University an email stating, 'I read an article about the missing Charles Darwin and you believing it was a possible theft. If the last name Koch - Frederick R. Koch or William Koch (brothers of Charles and David Koch) or John Olsen are names that would be helpful, then I have other information to help. Otherwise, I am sorry to have troubled you.' I sent it with absolutely no expectations of a response.

Of course, I initially received the standard 'Auto-Reply.' But then, on December 9, 2020, which was a few weeks later, I received an actual response. It was from someone at the University stating they were forwarding my tip to their police contact. You can't even begin to understand how excited I was! The email stated, 'Thank you again for your email which we intend to forward to our police contact. He or a colleague may be in touch to discuss further.'

Now, probably if I hadn't emailed again to, you know, then tell him the rest of the story of why, well, I might have been able to discuss further. But of course, then that instant bias hits in and I never heard from them again. Shocking!

I've even created a video detailing my email exchange with Cambridge and how the path of a billion dollars in art crimes seemingly collided with Charles Darwin's stolen notebooks. You can watch that video by going to the evidence link on the website. 

Then, in April 2022, a major update hit the news: 'Mystery as two precious Charles Darwin notebooks that were stolen from Cambridge University Library in 2001 are anonymously returned in a pink plastic bag with a typed note saying 'Happy Easter'. 

You can find a link to the article at the evidence tab of the website.  

This confirms that the notebooks were indeed stolen. It suggests the University did spend 20 years searching internally, perhaps because the thief had indeed misled them into believing they didn't have it. When, in fact, the thief had the notebooks the whole time. But they were a billionaire and they couldn’t be lying right? They probably had a donation check in there too. Which that took away anonymity.

Additionally, the anonymous nature of the return, with the University's continued silence on the thief's identity, strongly suggests that a wealthy person was the thief, as their identity was not reported to the media. There was no transparency. 

We can assume the University knows who the person was who arranged the photoshoot that the notebooks went missing from. Interestingly, the note accompanying the returned notebooks stated 'Happy Easter,' which is quite ironic considering Charles Darwin himself would not have celebrated this holiday. 

The University, Interpol, and the Art Loss Register are, in my view, well aware of WHO took and returned the notebooks. 

How would you respond if you were in my shoes and had gone through this journey, knowing these connections and seeing this continued silence?

Cambridge University, quite a few email addresses, including the one I sent the tip to, they are active subscribers of my newsletters where I have on several occasions called out Cambridge, asked them to call the Isabella Stewart Gardner Museum, asked them to all call the FBI, the Art Loss Register, share your evidence. Well, this was prior to the Heywood Jablowmey. Now that has solidified that the museum is corrupt and most likely took a donation and knowingly has watched my mental abuse and ignored it in exchange for their donation. 

When I break through this, everyone will know about the museum and Cambridge. 

Cambridge University, you know who your suspect is. If I somehow 'guessed' the correct name of your criminal, is that a mere coincidence? Or have I, in fact, managed to profile the same criminal from my mother's art story to the same criminal in your collectibles crime? If so, why do you continue to protect the criminal's identity and not assist the person doing the right thing? If you came forward, we might be surprised to learn about even more crimes this connection could help solve. But they are all going to sit on their donation money.

As you can see, I will not leave this story alone. I believe strongly that the Koch family's alleged crimes should be known. I don't care how much power they have. It's a shame that so many don't feel the same way. We must stop protecting the privileged, criminal billionaires. They only have power if we let them. If I give up, I am no better than those protecting them, and why would I want to protect them? 

I wake up every day knowing I am doing all I can for what is right. I am emailing nearly 100 email addresses that go to news agencies, museums, law enforcement, and more. 

Even knowing everyone’s labeling me as a conspiracy theorist. I don’t care. I keep going. I am confident in my truth. I have even shared the full list with all recipients. Looking back, I now believe it may have only served to help them communicate more effectively and strengthen their coordinated walls of silence against me.

Beyond Cambridge, another critical layer of intrigue began to unfold, painting an even broader picture of Frederick R. Koch’s potential activities and how these high-value crimes might operate. My research revealed that Frederick R. Koch owned the iconic Woolworth Building in New York and oversaw extensive redesigns on it. This was part of a broader pattern in his life: starting in the 1980s, Koch was known for buying, restoring, and meticulously maintaining numerous historic properties both in the United States and abroad. 

These included Donahue house, a Woolworth mansion in Manhattan, but also grand estates like a Habsburg hunting lodge in Austria, Romanesque villa in France, and a Tudor Gothic mansion in Pennsylvania. Notably, he even secretly financed the reconstruction of the Royal Shakespeare Company's Swan Theater in England, keeping his role as the project's patron hidden for years. And as reported by The Independent, Koch 'never speaks to the press' and 'has not allowed either auction house to use his name, which makes identifying the paintings that belong to him a little problematic.'. You can find a link to that article on the evidence tab of the website. 

This penchant for operating quietly and maintaining secrecy in his high-value dealings is a striking aspect of his character and how he moved in the world. 

This direct connection to a Woolworth mansion, along with his other acquisitions, raised an immediate question: did he know the Woolworth family intimately?

Years ago, I learned about a separate, major art heist that occurred at the Woolworth family's home, where around 51 paintings were stolen. At the time, given Koch's known connection to the building, a thought crossed my mind: 'Oh, he probably did that too.' It just was a fleeting suspicion.

But then, recently, a startling connection emerged. You might recall the name 'Connor' from some of the existing Mafia theories surrounding the Isabella Stewart Gardner Museum art heist. Well, in this Vanity Fair article titled 'The Art of the Steal' 

You can find a link to the article at the evidence tab of the website.  

In this article it explicitly stated that Myles Connor' was found to have a painting from that very same Woolworth heist. And this same 'Myles Connor' is a figure also linked to the Isabella Stewart Gardner Museum art heist through existing Mafia theories. This isn't just a strange connection; it starts to feel like a twisted game of six degrees of separation in the world of high-value art crime.

This, for me, adds a significant piece to the puzzle. With Frederick R. Koch connected to the Woolworth family through his ownership of their iconic building, and then this same 'Connor' figure linked to both the Woolworth and Gardner heists, it strengthens the hypothesis that Frederick R. Koch could be a long-standing art heist criminal mastermind. 

He might be orchestrating these thefts, perhaps utilizing figures like 'Connor' – individuals with known connections to the underworld – to facilitate the movement and disposition of his stolen artwork. 

This would explain how such high-value, sensitive pieces disappear from major institutions and private homes, only to surface in unexpected places within this secretive network.

And then there's John Olsen, Koch's companion. My research revealed Olsen worked as a realtor at Sotheby's. Think about that for a moment: as a high-end realtor, John Olsen would have had intimate knowledge of exclusive, valuable homes – their layouts, their security, their contents, their owners' habits. It would be incredibly interesting to look over the records of other high-end home art heists to see which properties Olsen had access to.

 After all, who would ever suspect the realtor who's the companion to the billionaire. 

Now, let's turn to a clue that comes from a truly unexpected source: the world of animated television. 

For decades, the 1990 Isabella Stewart Gardner Museum Art Heist has remained one of the world's most captivating unsolved mysteries. 

While popular theories often point towards the involvement of the mafia, I, Suzanne Kenney, was pursuing my mother's art story – a path that unexpectedly crashed into the Isabella Stewart Gardner Museum art heist, leading me to a powerful, wealthy figure I liken to none other than Springfield's notorious Mr. Burns: billionaire Frederick R. Koch.

Interestingly, the showrunner for 'The Simpsons' even has stated that there are 34 known instances where the show has accurately predicted future events. Already aware of the Simpsons episode. I posed a question to the Gemini AI: If 'The Simpsons' did an episode that solves the Isabella art heist, and it isn't the Mafia that has it, but rather Mr. Burns—and Mr. Burns can equate to a Mr. Koch—could this be correct?

What emerged from this line of questioning, and from looking into the show's history, is remarkable. In 2010, 'The Simpsons' aired an episode titled 'American History X-cellent.'

You can find links to these articles at the evidence tab of the website.  

Incredibly, this episode directly features Mr. Burns being arrested for possessing stolen art explicitly identified as paintings taken from the Isabella Stewart Gardner Museum in Boston. Chief Wiggum, of all people, discovers the stolen artwork hidden away in Burns's mansion.

At first glance, a cartoon comedy might seem like an unlikely place to find clues to a real-life, high-stakes art theft. However, consider the astonishing parallels that resonate with my long-held theory:

• The Wealthy and Powerful Culprit: In 'American History X-cellent,' the culprit is Mr. Burns, Springfield's ultra-rich and often morally flexible tycoon. This aligns directly with my consistent assertion that a billionaire, Frederick R. Koch is likely the mastermind behind the real Gardner heist. The depiction of Mr. Burns in possession of the stolen art mirrors the core of my theory of a wealthy individual being involved.
• The Loyal Cohort: In 'The Simpsons,' Mr. Burns is almost always accompanied by his devoted, often unquestioning assistant, Waylon Smithers Jr. This relationship is frequently portrayed as going beyond mere employer-employee. This resonates deeply with the dynamic between Frederick R. Koch and his companion, John Olsen, suggesting a similar, highly dependent, and perhaps morally ambiguous partnership at the heart of this alleged criminal enterprise.
• A Museum Setting: The Simpsons' story directly names the Isabella Stewart Gardner Museum as the source of the stolen art found in Mr. Burns's possession, mirroring the real-life crime.
• The Absence of the Mafia: Crucially, the 'American History X-cellent' plot does not involve the Mafia or organized crime as the primary actors in the art-related scheme. This aligns perfectly with my assertion that the traditional Mafia narrative surrounding the Gardner heist is a misdirection. Though my theory does include the mafia as the tool. But not the mastermind. The news narrative only has the Mafia as the mastermind. With a billionaire buying it. 
• Direct Link to the Gardner Museum: The episode's explicit identification of the stolen paintings as coming from the Isabella Stewart Gardner Museum provides an astonishingly direct, albeit fictional, connection to the real-world event and strengthens the symbolic link to my theory about a wealthy individual like Mr. Koch.

Given 'The Simpsons'' established history of uncanny foresight, the direct depiction of Mr. Burns in possession of art stolen from the Isabella Stewart Gardner Museum is a truly remarkable detail. Could this 2010 episode, in its satirical way, have inadvertently highlighted a key aspect of the Gardner mystery that has been consistently overlooked? Could the show's writers, through their characteristic blend of humor and social commentary, have stumbled upon a scenario that aligns with the real, yet unheard, truth of the art world's greatest unsolved crime?

For me, this isn't just a humorous coincidence. It's a potential reflection, however cartoonish, of a scenario where immense wealth and influence, rather than typical criminal elements, are at the heart of the Isabella Stewart Gardner Museum theft. It's another intriguing piece in a puzzle I've been determined to solve, a pop-cultural echo that now screams, they might have known... or perhaps, they just understood the real players involved.

Finally, in our exploration of compelling clues and patterns, I want to share a narrative that resonated with my mother, Mary's story and my own struggle with chilling precision: the journey of Teri Horton.

My mother Mary’s story, her unexpected encounter with Frederick R. Koch and the art he sold, felt uniquely unbelievable for so long. But then I stumbled upon Teri’s narrative, and the parallels were stark. 

Teri was a truck driver from California.In her early seventies, she was depressed one day and a friend bought her a gift to cheer her up. A painting from a local thrift store. But when they brought the painting home the painting wouldn’t fit in her house. So they put the painting out in a yard sale. And an art teacher spotted it, telling her it resembled a Jackson Pollock and might be worth a fortune. Teri's famous, unfiltered response was? 

 Who the #$&% is Jackson Pollock.

You can find a link to the article at the evidence tab of the website. 

What followed for Teri was a relentless, heartbreaking fight for authentication. Despite forensic specialists confirming a partial fingerprint on her painting matched one from Pollock's studio, the art world’s gatekeepers consistently refused to authenticate it. 

Her story became the subject of a powerful documentary, titled 'Who the #$&% Is Jackson Pollock?', highlighting the immense institutional resistance faced by an ordinary person challenging the established art world. 

Sadly, Teri passed away before she could ever authenticate and sell the painting, even with that direct fingerprint confirmation and a lineup of connections and facts supporting her claim. You can find links to the articles at the evidence tab of the website. 

Teri Horton’s battle was my mother’s battle, just with a different painting. It was my battle, too. My mother has authentic masterpieces – pieces that have undergone black light tests, like our Van Gogh, showing clear restoration. These are not fake artworks. They are real. Yet, the institutions that authenticate individual brushstrokes and documents stubbornly refuse to acknowledge the larger, inconvenient truth that these pieces reveal: their connection to the Gardner heist and Frederick R. Koch. They accept the part but dismiss the whole, just as the art world dismissed Teri Horton’s Pollock despite compelling evidence. It reveals a pattern where the perceived 'authority' of the gatekeepers outweighs even the most tangible proof, if that proof threatens a powerful narrative.

The parallels between our experiences are stark. Teri had a physical fingerprint, a direct link, yet was dismissed. My mother’s collection holds pieces that fit the Gardner heist checklist. Both our journeys stand as testaments against systemic gaslighting.

 It's a battle against institutions that accept fragments of evidence but reject the whole picture if it implicates the influential.

This brings me to a speculative, yet intriguing, connection. 

Teri purchased her painting around 1992, roughly the same time period as my mother’s encounters with Mr. Koch. It was definitely the type of painting Frederick would own, and the person who donated the Jackson Pollock painting to that thrift store never came forward, despite the painting being all over the news and subject of a full documentary. Of course, I have no proof, but the idea that maybe, just maybe, Frederick Koch donated it to the thrift store knowing my mother was never going to be allowed to sell the artwork and have her story told… He might have believed her story being told would end his anonymity. 

Perhaps he needed another way to accomplish his mission to 'make right' with the art world without the risk of getting caught, and doing it states away from where he did the transactions with my mother seemed like a viable next option for him. Again, I could be very far off, but you never know. 

I never thought I’d be where I am now having a podcast about my connections to famous artwork. Anything is possible.

Teri Horton’s unwavering persistence, despite overwhelming resistance, became an immense inspiration to me. Her story fueled my own fight, especially when I faced setbacks. It reinforced my commitment to my mother, Mary’s legacy through platforms like uhv.news. My evidence stands strong. It's not just a collection of facts; it's a testament to perseverance, a refusal to let the narrative of the powerful define what is true.

Today, we've pulled back another layer of this massive cover-up, revealing startling connections between seemingly different events and profiling the kind of powers that operate above the law. 

From Cambridge University's astonishing 20-year silence and the mysterious return of Darwin's notebooks, to the compelling links between the Woolworth art heist, the figure of 'Myles Connor,' and Frederick R. Koch's own ties to the Woolworth family – these aren't isolated incidents. They paint a clear pattern, hinting at a sophisticated criminal mastermind operating within an intricate network of high-value art and collectibles crimes. The clues are there, hidden in plain sight, for anyone willing to see past the curtain of influence, even those found in surprising places, like 'The Simpsons'' clues, and the compelling parallels in Teri Horton’s struggle.

What we've explored today truly begs the question: how deep does this influence run? How does a family exert such control that compelling clues of alleged crimes, across decades and continents, remains untouched and uninvestigated? 

Next time, in Episode 10, we'll delve deeper into that very question as we confront the true extent of Koch Power, and why it has allowed this truth to remain suppressed for so long.

This story is real, and it’s for anyone who wants to see corruption challenged and for the 'little person' to finally be heard. I urge you to take action. Email info@propublica.org to demand coverage of my 15-year fight for justice. Tell them you’ve heard the evidence on the Crime and Canvas Podcast. Use #CrimeAndCanvasPodcast when you share this episode.

And remember, if you're going through a similar struggle, if you have a voice that needs to be heard, visit uhv.news. I started uhv.news because every voice matters. It is a place I started for others going through similar struggles or taking time to praise someone in their community.

Thank you for joining me on the Crime and Canvas Podcast. This is Suzanne Kenney. I'm grateful for your time and your willingness to hear this story. Let's always remember, the truth is still the truth, even if no one believes it.