The Shed, the Tape, and the Dealer Who Lied About Three Paintings
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The Shed, the Tape, and the Dealer Who Lied About Three Paintings
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A mud-sealed shed, a museum accession tape with handwriting, and three paintings reported stolen years earlier-what looks like a routine boundary check uncovers a fraud that ran for eight years and touched a nonprofit foundation, insurance records, and federal filings. Who placed those paintings into a private foundation, and where had Susan Baker obtained them in the first place?
In this episode, we follow the chain of discovery from a surveyor’s latch to the foundation files, detailing how donor control, repeated “donor privacy” notes, and altered framing masked the provenance problems-so how did three mid-century works end up reframed and sitting in a regional foundation’s collection?
Person: Susan Baker
Person: Paul Weir
Person: Carol Kowalski
Event: Three paintings confirmed stolen and found in foundation collection
Status: Seven counts proven in court
- The painting found in the shed had a museum accession number linking it to a foundation forty minutes north.
- Susan Baker wrote “donor privacy” in emails eleven times across three years instructing not to pursue provenance.
- Paul Weir was hired as the Foundation’s executive director in 2005 and was 61 in 2011.
- Three stolen paintings dated from the 1960s-70s had their original carved gilt, period walnut, and hand-joined oak frames removed and replaced with modern commercial moldings and foam-core backing.
- Marie Price discovered the wrapped landscape in the shed ten days after the donor had moved it there, after the shed door hadn’t been opened in weeks.
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