The book launch

I’ve been busy with publicity and marketing my book The Picasso Ransom for the last couple of weeks. And this blog post is another aspect of that.

(photo by Linda Elly)

On Saturday, I had a book launch at my local pub, The Woodlands on Sydney Road. I made a bit of a speech, read a bit from the book, did a bit of show and tell with an antique art magazine the NSW vice squad confiscated, and had an extensive Q&A session about writing the book and art crimes led by Neil Kerlogue. Thanks, Neil, for that and your introduction. And thanks to Linda Elly for the photos of the launch. So many people to thank, including the Woodlands Hotel, for providing the venue in their decorative upstairs bar. They said they’d keep the bar open for the first hour, but they kept serving drinks until 6 pm when just my table was left. And I’m not the only author who would recommend them for a book launch.

My book is The Picasso Ransom and other stories about art and crime in Australia. I must try to emphasise that most of it is more stories about art and crime, not just the famous theft of Picasso’s Weeping Woman from the NGV.

One of the other stories is the Peter Gant and Aman Siddique trial for forgery. I hear rumours about a two-part documentary being made for the ABC. The documentary will have illustrations by Bill Luke sitting beside me in the reporters’ box during the trial.

On the subject of documentaries on stories I cover in my book. Whatever happened to the one Jacob Obermann was making about Paul Yore?

Will my next book be The Picasso Ransom 2, more stories about art and crime in Australia? There are already some stories developing. Including the protests in museums, the attempted decapitated of a banana skull statue, stolen garden sculptures and more of the continuing statue wars. Ronald Ferguson told me about a guy shot in the back stealing some paintings in the 1970s – I must look into that. Will I include a story about an art dealer stealing work from artists? The police don’t often get involved in what is, to some extent, a business dispute, but if the right story comes along. Contact me if you can add details or know of a crime involving art in Australia that I have missed.

My book is available from the usual online sellers (Amazon), but please ask your local bookstore to get it and ask your local library to buy a copy. (Unlike the sales, the library reading copyright royalties for my first book, Sculptures of Melbourne, continues to grow). 

Available in Australia and New Zealand through: 

• Brunswick Bound
• Dymocks Nowra
• Readings Doncaster
• Booktopia

In Canada and US through:

• Barnes & Noble 
• walmart.com
• Chapters / Indigo (Canada) ebook only

And in Europe and UK through:

• Adlibris  
• Agapea
• Blackwells
• Book Depository Ltd
• and others

Advertisement

Forgery Trial Book

When the authenticity of two million dollar paintings comes into question the stage is set for a major legal battle. Were the two large paintings forgeries or were they innocent? Was it an elaborate art fraud? Or were they by the Australian superstar artist Brett Whiteley’s whose tragic death from a heroin overdose meant that he wasn’t around to dispute its authenticity.

In her book Gabriella Coslovich takes the reader step by step through this complex case of art forgery. From the first suspicions and the police investigation, through the committal hearing in the Magistrates Court to the trial in the Supreme Court and the subsequent appeal. She interviews, or attempted to interview, everyone involved in the story from the artist’s widow Wendy Whiteley through to witnesses, millionaire victims, police and defence lawyers. Not surprisingly not everyone want to talk but surprisingly one of the defendants, Peter Gant does. Not that she was the only journalist that he talked to; Gant seemed to bask in the media attention that his trial brought.

In the book Coslovich considers the difference between the art world and the laws assessment of the authenticity of the paintings. The issue of connoisseurship, of having “a good eye” is important to the art world but provenance is also important. People repeatedly say about Gant that he had a good eye for saleable art. Was this the same as selling a fake Rolex watch? As one of the lawyers in the case posited. Or is there a difference that the law should recognise? The damage to art history is rarely considered.

By the time it got the trial in the Supreme Court Coslovich had been investigating Peter Gant’s dodgy art deals for six years, both as the arts reporter for The Age newspaper and as an independent writer. So it was not surprising that she is passionately that she wants to see a conviction. It is her depth of knowledge of the case that made her bristled with anticipation every day of the four week trial. I know because I was sitting next to her. I am referred to once in her book as “one of my fellow scribes” (p.151) discussing with her how the dock influences juries.

I think that Coslovich may have solved one piece of the puzzle with her careful analysis of the various versions of the catalogue. The difference in gallery address and the missing printer corrections are crucial details. She doesn’t make a big thing about it in the book and unfortunately her discovery comes too late.

Gabriella Coslovich Whiteley On Trial (Melbourne University Press, 2017)

The Forgery Trial

Since April 4, 2016 I have been attending the Supreme Court to observe the trial of Peter Gant and Aman Siddique who were accused of forging two Brett Whiteley paintings. Last Friday Justice Croucher finally passed sentence. The jury verdict had been delivered months before, but the sentences had been delayed to hear plea hearings and applications for damages.

The trial of Aman Siddique and Peter Gant was itself is at a trivial crossroads in legal history as it is one of the last cases to be tried in the Supreme Court with the lawyers and judge wearing the traditional wigs. As of May 1, 2016 Supreme Court trials will no longer have the judge and barristers wearing wigs.

For most of the trial Justice Michael Croucher was wearing in his wig and red robes edged with silver. His tipstaff was dressed in the traditional uniform of a long grey coat with black brocade.

The venerable old defence barrister Remey Van De Weil, QC, who was representing Siddique, commented on the loss of wigs in his summing up to the jury. He noted that the wigs going back to the Sun King, Louis XIV of France. Mr Van De Weil used this historical point to emphasise this to the jury. “You are here to apply the principles of law, and that’s why we dress the way in which we do and it’s the only justification for it – believe me; I do not go to bed wearing these clothes, I don’t wear them around the house or certainly don’t wear them walking my dog.” He probably uses the same speech on all the juries.

Remey’s old wig looks like it is made out of horse hair, but the younger wigs in the courtroom are all made of nylon.

All the wigs were off for the sentencing.

On Friday Peter Gant, the art dealer who had sold the forgeries was sentenced to five years’ imprisonment, with a non-parole period of 2.5 years. Aman Siddique, the art restorer who painted the forgeries was sentenced to three years’ imprisonment, with an order for ten months to be served and 26 months suspended. There were several reasons for the difference in the sentences including that there was no proof that Siddique had received any money and because if Siddique served twelve months he would be deported from Australia, as he is not an Australian citizen.

The sentences were not a surprise to those watching the trial. The verdict will probably be overturned on appeal because there is evidence from a couple of witnesses that the two paintings in question existed in 1988.

For most of the time I sat with the large blue painting in its gilded frame known as “Blue Lavender Bay” resting on the padded seats just behind me on the press bench. The slightly smaller painting “Orange Lavender Bay” was further along.

I was not alone on the press bench. The other regulars observing the trial included, Bill Luke and the former arts reporter for The Age, Gabriella Coslovich were also both writing books. We were very occasionally joined by various journalists, generally, Pia Akerman for The Australian.

I have never observed a Supreme Court trial before but I have some experience with court reporting. (Read my blog post Are You Experienced?)

I have not been able to write about most of the trial because my blog allows comments and reporting on a jury trial with online comments risks contempt of court. I was not there for my blog but to work on my book about art and crime. I did find one exception and that was to write about the tagging on the press bench.