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Tony Tetro - Con/Artist: The Life and Crimes of the Worlds Greatest Art Forger

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The worlds most renowned art forger reveals the secrets behind his decades of painting like the mastersexposing an art world that is far more corrupt than we ever knew while providing an art history lesson wrapped in sex, drugs, and Caravaggio.
The art world is a much dirtier, nastier business than you might expect. Tony Tetro, one of the most renowned art forgers in history, will make you question every masterpiece youve ever seen in a museum, gallery, or private collection. Tetros Rembrandts, Caravaggios, Miros, and hundreds of other works now hang on walls around the globe. In 2019, it was revealed that Prince Charles received into his collection a Picasso, Dali, Monet, and Chagall, insuring them for over 200 million pounds, only to later discover that theyre actually Tetros. And the kicker? In Tonys words: Even if some tycoon finds out his Rembrandt is a fake, whats he going to do, turn it in? Now his Rembrandt just became motel art. Better to keep quiet and pass it on to the next guy. Its the way things work for guys like me. The Prince Charles scandal is the subject of a forthcoming feature documentary with Academy Award nominee Kief Davidson and coauthor Giampiero Ambrosi, in cooperation with Tetro.
Throughout Tetros career, his inimitable talent has been coupled with a reckless penchant for drugs, fast cars, and sleeping with other con artists. He was busted in 1989 and spent four years in court and one in prison. His voicerough, wry, deeply authenticis nothing like the high society he swanned around in, driving his Lamborghini or Ferrari, hobnobbing with aristocrats by day, and diving into debauchery when the lights went out. Hes a former furniture store clerk who can walk around in Caravaggios shoes, become Picasso or Monet, with an encyclopedic understanding of their paint, their canvases, their vision. For years, he hid it all in an unassuming California townhouse with a secret art room behind a full-length mirror. (Press #* on his phone and the mirror pops open.) Pairing up with coauthor Ambrosi, one of the investigative journalists who uncovered the 2019 scandal, Tetro unveils the art world in an epic, alluring, at times unbelievable, but all-true narrative.

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Copyright 2022 by Tony Tetro and Giampiero Ambrosi Cover design by Terri Sirma - photo 1

Copyright 2022 by Tony Tetro and Giampiero Ambrosi Cover design by Terri Sirma - photo 2

Copyright 2022 by Tony Tetro and Giampiero Ambrosi

Cover design by Terri Sirma

Cover photographs: Caravaggio paintingMolteni Motta/Getty Images; framevolkova natalia/Shutterstock; Back-of painting photographPeter Calvin

Cover copyright 2022 by Hachette Book Group, Inc.

Hachette Book Group supports the right to free expression and the value of copyright. The purpose of copyright is to encourage writers and artists to produce the creative works that enrich our culture.

The scanning, uploading, and distribution of this book without permission is a theft of the authors intellectual property. If you would like permission to use material from the book (other than for review purposes), please contact permissions@hbgusa.com. Thank you for your support of the authors rights.

Hachette Books

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New York, NY 10104

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First Edition: November 2022

Published by Hachette Books, an imprint of Perseus Books, LLC, a subsidiary of Hachette Book Group, Inc. The Hachette Books name and logo is a trademark of the Hachette Book Group.

The Hachette Speakers Bureau provides a wide range of authors for speaking events.

To find out more, go to www.hachettespeakersbureau.com or call (866) 376-6591.

The publisher is not responsible for websites (or their content) that are not owned by the publisher.

All images used by permission. The two photographs on the lower half of page one of the art and photograph section, the top photograph on page five, and the bottom right photograph on page six are by Peter Calvin. The photograph at the bottom of page four is by Steve Kimball. All other images are presented courtesy of the authors.

Library of Congress Control Number: 2022943897

ISBNs: 9780306826481 (hardcover); 9780306826504 (ebook)

E3-20221001-JV-NF-ORI

In memory of Officer Thomas Wallace and with gratitude to Severino and Santina Ambrosi

Corot painted 3,000 canvases, 10,000 of which have been sold in America.

Ren Huyghe, former chief curator, Louvre Museum

I was lying on the couch falling asleep when I heard a rustling at the front door and someone saying, Tony? Tony? You there? I said, Yeah, and the next thing I knew twenty-five cops burst into my condo. The first thing one of them said was, A man just gave you eight thousand dollars in cash. Im going to need that back right now. It was true, so I handed the money over immediately.

The cops began demolishing my place, slicing up the wallpaper, pulling up the carpets, emptying all the drawers. The whole time I sat there on my couch sweating bullets, staring up at my secret room, which was reflected in the mirror on the mantelpiece. The room was in an odd-shaped space behind the upstairs bathroom. If you pressed #* on the cordless phone, a full-length mirror would pop open and reveal my secret stash of special papers, pigments, collector stamps, light tables, vintage typewriters, certificates of authenticity, notebooks with signatureseverything a professional art forger might need.

The cops were rifling through my medicine cabinet, knocking on the walls, checking inside the toilet tank. If they had found my secret room, I would have been buried for real. The whole time, the cops were going back and forth to a big truck, filling it with artwork, boxes, books, anything they could find. Finally, after six or seven hours, the chief detective decided theyd done enough and told everyone to quit.

Everybody stopped what they were doing and walked out. I breathed the biggest sigh of relief in my entire life. But they didnt really leave. They just stood around at the doorstep. There was a long, uncomfortable silence. I was confused. I started to stand up because I thought they were waiting to handcuff me. One of the cops waiting on the doorstep caught my eye, raised his eyebrows, and gave me a shit-eating grin.

Then, the chief detective turned around and shouted, OK, second walk-through! and all the cops rushed back in, switching places and calling out, I got upstairs now, I got the bathroom, Im over here. My heart dropped out of my ass. I collapsed back on the couch and went completely numb.

If they found my secret room, the life I had been living would be over.

F ulton, the small town where I grew up, billed itself as The City with a Future. My father called it the asshole of New York. Today its just another Rust Belt casualty, but then, it was a thriving all-American town populated by Italian and Irish immigrants who pledged allegiance, went to church, and worked hard at one of the factoriesSealrite, Armstrong Cork, Miller Brewing, or Nestl, making chocolate, which you could smell from across the river when it was about to rain.

We all dropped our native languages, accents, and foreign names and got on with the business of making it in America. We played baseball, rode our bikes, and swam at Fair Haven Beach on Lake Ontario, where I would spend all day building and decorating elaborate sandcastles. We attended Rotary Club and had charity carnivals for the volunteer fire department. And though we traded insultsus calling the Irish kids micks, and them calling us guineas, goombahs, and greasersit never led to any real animosity. Every Italian guy ended up marrying an Irish girl and every Italian girl married an Irish guy. Even one of my own best friends, Gary Battles, married Rosalie Arcigliano.

My father, James, who everybody called The Gump because of his resemblance to Andy Gump, the 1930s cartoon character, had come over from Bari, Italy, as a child, living first in the Bronx, where he carried ice blocks up the tenement stairs of Arthur Avenue, before moving to central New York. My mother, who had entered Ellis Island from Sicily as Beatrice Di Stefano, came out as Bee De Stevens and married my father at the age of eighteen. They bought a house, had four kids, and got on with getting ahead.

The curve of First Street where we lived was called Spaghetti Bend. It was the center of what had been the Italian part of Fulton for decades. In the thirties people called Fulton Little Chicago because of its reputation for Al Caponestyle killings and the fact that it was the mobs stronghold in central New York. When I was growing up, the mob was everywhere, but it was low-key and unremarkablejust part of the atmosphere that you breathed. At the Italian American Club on Broadway, you could see the bosses, Anthony Di Stefano (no relation to my mother) and Bobo Ranieri, playing cards while their entourages hung around, waiting. As far as I knew, they controlled jukeboxes, pinball machines, and the clipboards in every diner and caf where you could bet on sports or play the numbers. If you were in trouble, you could borrow moneywhich everybody told you, You better pay it backbut there was no drugs or prostitution or anything seedy that I could see anywhere.

Of course, Fulton did seem to have a lot of failing businesses with paid-up insurance policies and faulty, fire-prone wiring. The Derby Lanes bowling alley, Gayles Bar and Grill, the car dealership, the furniture storeall of them went up in flames. One of my brothers friends, Lefty Levy, told my brother about torching a few places and even his own car. Lefty had called it Jewish Lightning. When Bobo Ranieri died, Fulton had a funeral that was talked about for decades, a procession of a hundred black Caddies, as far as the eye could see, coming to pay their respects.

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