It was after an email response from John Olsen (Frederick R. Koch’s companion) that Suzanne found the Frederick R. Koch fire in London. The discovery was January 2011. This email was about their 4th email back and forth over an approximate three-month time period.  John Olsen is denying that Fred was the man that visited with Suzanne's mother (Mary). This didn't make sense when everything Suzanne researched pointed to Frederick, and this was before she found the fire.

The fire occurred on October 7, 1991 and Mr. Koch arrived in Mary's life a few weeks later in November 1991 selling her artwork by Master Artists. Telling her the damage to the artwork was from it being saved from a fire at an art storage warehouse. 

See the screenshot of the email below:

There are several statements in his last email that raised some questions. First, his statement that “He has never owned or possessed works by Calder or Picasso, Jane Peterson, etc... and has never been fond of, let alone collected, works of this period.”

Suzanne Googled "Frederick Koch Sotheby's" looking to find out what artwork Frederick had collected. The top result was the following article. 

Art Market: Victorian values: Official objections and a disastrous fire ended an American millionaire's plans for a museum here to show his splendid 19th-century paintings. Now he is giving - and selling - up. Geraldine Norman reports

https://www.independent.co.uk/arts-entertainment/art-market-victorian-values-official-objections-and-a-disastrous-fire-ended-an-american-millionaire-s-plans-for-a-museum-here-to-show-his-splendid-19thcentury-paintings-now-he-is-giving-and-selling-up-1489906.html 

After reading the TITLE and before clicking in, Suzanne's stomach turned, she knew she was about to find the fire she had been searching for. Her mother had told her, Mr. Koch had told her the damage to the artwork was from it being saved from a fire at an art storage warehouse. Mr. Koch discussed working on a museum too (Suzanne's mother thought the fire and museum were both in Miami) read about Suzanne's Miami Research here. 

As Suzanne read the article, she was starting to figure out why these men were lying. If they hadn't been denying the visits, it wouldn't be so suspicious as to what these visits with Suzanne's mother were about. Now there was a crime. How is she ever going to tell her mother that this man she has talked so highly of all these years was up to no good?

This was the first possible crime Suzanne had found. Up until this point, Suzanne had no answers to much of the mystery surrounding her mother's story. After reading the article, Suzanne immediately emailed Lloyds of London, the insurance company that handled the fire. Suzanne believes the artwork sold to her mother came from this fire. It is what the man named "Mr. Koch" told Mary. That the damage to the artwork was from it being saved from a fire an art storage warehouse. This article has a Mr. Koch ART fire at an art storage warehouse. How many other fires at an art storage warehouse with a Mr. Koch are there?

Another important statement in the article for Suzanne is:

"Koch, who never speaks to the press, has not allowed either auction house to use his name, which makes identifying the paintings that belong to him a little problematic. However, his ownership of several important works is an open secret in the London trade." That has definitely been an issue when trying to prove this man sold Mary this artwork. 

Below is an article that states “After 1980 buyers, led by Wendell Cherry, Fred Koch and the Getty Museum, elevated French Impressionism, Van Gogh, Picasso and early 20th Century Europeans to the summit and ensured that on the auction houses' current list of the Top 100 Pictures Ever Sold, no fewer than 92 are works since 1870. “  But John Olsen states in his email that Frederick didn't collect Picasso or other art from this period and their (self-created) database supports this...

John Olsen states he has an inventory database going back 40 years and none of the paintings Mary claims Fred sold her were in that database.

1. This is the first mention of this database. Suzanne and John have emailed back and forth several times by this point. The first email Suzanne sent included photos of the artwork. The first email response from John was that Fred was out on a yacht somewhere, and John sent Fred a fax. Looking back now on this statement from Suzanne's research, Fred NEVER traveled without John. 
2. Why would we believe a database they themselves created? Especially if they want to cover this whole thing up like it never happened. Creating the database, they figure, is a perfect fix. Unless an insurance company (Lloyds of London) has insured specific pieces, but we can’t get anyone to help - so proving that isn’t going to happen.
3. If Fred never liked or collected artwork from the artists that Mary claims was sold to her, why would you need to check your database? And why not just say that in the first email instead of the "off on a yacht and needing to fax him" story. 

John then states, “Having said all that, I have a call in to Mr. Rower and forwarded your images below to the Vice Chairman of Sotheby's in New York for examination.“ Mr. Rower is from the Calder Foundation. Why would John contact these people?

After Suzanne discovered the fire and realized there are crimes involved, she didn't email John again. Instead, she immediately emailed Lloyds of London. Lloyds of London had Julian Radcliffe from The Art Loss Register follow up with Suzanne. Julian Radcliffe was the lead insurance investigator on the case in the 1990s. Julian Radcliffe disregarded the information provided by Suzanne and didn't provide proper assistance to her or her mother. 

Julian Radcliffe stated, "known destroyed artwork is known to be forged." So is the artwork that was shown to Mr. Radcliffe known to have been destroyed in the fire?

Even if the artwork Mary was sold, is forged from "known destroyed artwork" wouldn't you think that deserve some investigating into why this lady, Mary says she was sold artwork from a Mr. Koch. Then here Suzanne is reporting this artwork to be from the same fire that the artwork was known to be destroyed in. How could Mary or Suzanne have ever figure this out? How could Mary have gotten some forged artwork that happens to be from a fire where the known originals belonged to a Mr. Koch? The answer, the artwork was never destroyed and Mr. Koch sold Mary the originals. According to news reports, not all of the belongings in the fire were destroyed. There was a lot recovered from the fire.

She also emailed Robert Wittman about her discovery - this was prior to seeing Robert Wittman at the Palm Beach International Art Show February 2012. Along with being prior to Suzanne solving the Isabella Stewart Gardner Museum art heist, which she solved June 2012. Robert Wittman had the Koch Brothers at the Palm Beach International Art Show that day. Robert Wittman disregarded the information provided by Suzanne and didn't provide proper assistance to her or her mother. For this AMAZING true ART story involving MASTER ARTISTS and solving nearly a billion dollars in ART crimes.

Everyone wants to believe that because Frederick and his brothers are all billionaires, they are innocent and we must be trying to fabricate some story to authenticate some artwork.

First, Donati claims several hundred thousand dollars was paid by a billionaire for the art heist. Suzanne finds you the billionaire, and because he is a billionaire, he is innocent. Yet news articles quote Donati (a known mafia criminal) about being paid by a billionaire to do the ART heist... But the news won't quote Suzanne's story about her mother's real-life ART encounters with a billionaire.

Second, most of this artwork is gone and we don't even know where it is today. So once this story makes news there will be a bunch of people coming forward with the artwork. How exciting will that be for them? Suzanne's goal is prove she solved these crimes  - not to get this artwork authenticated. That those involved in these ART crimes are Frederick R. Koch, John Olsen, David Koch, and William Koch. 

Below is scan of the Sotheby's contract authenticating one of the paintings. It also proves the time period.

Alexander Calder | Camille Bombois |  Éduardo Manet | Jane Peterson | Jim Cassel | Kees van Dongen |  Pablo Picasso | Vincent van Gogh

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