This work ships from Brooklyn, United States.
A courtroom sketch of Domenico De Sole on the witness stand with the fake Rothko painting he bought from Knoedler gallery. The trial commenced in January 2016 but after its third week the trial ended in a settlement between gallery owner Anne Freedman and the De Soles.
The back reads: Domencio de Sole points to fake Rothko painting he purchased from Knoedler gallery in Manhattan Federal Court 2016. The case is De Sole v. Knoedler Gallery, LLC, No. 12-CV-2313, (S.D.N.Y. Sept. 29, 2016).
“Inside the very best court artists are fine artists waiting to get out.” Elizabeth Williams, a veteran of courtroom art, is certainly one of those artists who has been able to perfect her style, establish a name for herself in a male-dominated field, and serve as an ambassador of court illustrations through her publications and exhibitions. This courtroom drawing, which appeared in the January 27, 2016 issue of The Wall Street Journal’s illustrating Thomas MacMillan’s article “Duped Art Collector Testifies in Knoedler Forgery Trial,” depicts the plaintiff, Domenico De Sole, Sotheby’s board chairman, director of Gap Inc., and former president and CEO of Gucci. As De Sole points to the fake Rothko, he is answering a question posed by his lead counsel, Gregory A. Clarick, the founding partner of Clarick Gueron Reisbaum LLP, explaining why he did not seek expert opinions about the painting he purchased for $8.3 million. “ “It never crossed my mind that this was a fake painting.”
- Irina Tarsis, Esq., Founder and Managing Director, Center for Art Law, New York