Studded with blue-chip names, multi-million-dollar paintings, private jets and bottles of Dom Pérignon ’08, this tantalizing glimpse by a former dealer into the art world’s most rarefied stratum doubles as a cautionary tale about a largely unregulated industry where hubris, greed and fraud abound.”
—The New York Times
“Charming . . . Whitfield is best . . . as he fires wildly with catty takedowns of every art-world passerby.”
—The Wall Street Journal
“Reads like a Liar’s Poker for the art world.”
—The Economist
“It is an art-world story and a scammer story . . . but it is also a close and careful examination of a life-altering relationship. . . . One of the most endearing aspects of Whitfield’s narrative is the precision and enthusiasm with which he pinpoints all the traits that drew him to Philbrick and kept drawing him in, even as flickers of his friend’s predatory unscrupulousness began to emerge.”
—The New Yorker
“Whitfield vividly captures the surreal contours of the art world—where buyers spend hefty sums on paintings made from M&Ms—and convincingly highlights how its absurdity helped cover Philbrick’s tracks for so long. The result is a rollicking up-close look at a fascinating con.”
—Publishers Weekly
“Whitfield is a thoughtful writer who spins an enchanting tale about ambition, friendship, power, and class, and his observations about the art world and the characters who populate it (himself included) are thought provoking and astute. In short, come for the infamy and intrigue, stay for the insight.”
—Town & Country
“Exhilarating . . . Whitfield tells the story of his former friend’s downfall in thrilling detail . . . compulsively readable.”
—The Guardian
“Compelling. . . . This is a world full of thieves, chancers, con artists.”
—Nick Hornby, The Believer
“A fascinatingly lurid picture of the art market’s double-dealing and brinkmanship.”
—The Washington Post, “3 New Audiobooks to Make You Laugh, Gasp, and Wonder”
“A juicy inside look at the meteoric rise and fall of an ambitious young art dealer. . . . compulsively readable . . . If the art world's primary currency is access—to art, capital, and buzz—this insider's account offers readers an enticing entry.”
—Kirkus
“A jaw-dropping, riveting true-crime memoir.”
—iNews
“Whitfield’s whirlwind account of the modern art world is intoxicating.”
—CrimeReads
“[An] absorbing account of Philbrick’s rise and fall. . . . Riveting and dismaying by turns. . . . A twisting, humorous, and sometimes painful story.”
—The Brooklyn Rail
“Whitfield tells the story vividly . . . a sharply observed memoir.”
—Apollo Magazine
“While his portrait of the art world is scathing, his sorrow and sense of bewildered loss are often heartbreaking.”
—Times Literary Supplement
“The author’s recounting of his mate’s moral-free machinations is guaranteed to have you picking your jaw up off the floor.”
—Pat Carty, HotPress
“Sharp-eyed, knowing, witty, this one of a kind memoir is a treat. Whitfield may have burned his bridges to the glittery art world he skewers here, but his book shines with solid gold.”
—Joseph Kanon, author of The Good German
“A tremendous book. A fantastically entertaining and brutally honest account of the scurrility of the contemporary art world. A brilliant, devastating exposé.”
—William Boyd, author of The Romantic
"Juicier than a bottle of Gamay at lunchtime and even more intoxicating, All That Glitters is an amazing takedown of a world that desperately needed taking down."
—Gary Shteyngart, author of Our Country Friends
"The culture of discretion that enshrouds the art market obscures a multitude of sins, so it is bracing (and great fun) to watch Orlando Whitfield flout the code of silence to name names, cite prices, and reveal scams. All That Glitters is an art world Great Gatsby, deliciously withering and dishy, a parable about the price of beauty, the power of charisma, and the limits of friendship."
—Patrick Radden Keefe, author of Rogues: True Stories of Grifters, Killers, Rebels and Crooks
"The art world revealed in this delicious, sharp and often breathtaking memoir is one of excess and illusion those of us outside it can barely imagine, and Whitfield unveils it nimbly and wisely. Funny, juicy, wistful and sad, it’s destined to be one of the books of 2024."
—Megan Nolan, author of Acts of Desperation and Ordinary Human Failings
“Orlando Whitfield is the ideal tour guide through the seamy underbelly of the global art market. All That Glitters is a wildly propulsive, gorgeously written, and wickedly perceptive romp. It feels like a friend is whispering fiendish secrets in your ear. I tore through it, transfixed.”
—Michael Finkel, best-selling author of The Art Thief
2024-05-17
A juicy inside look at the meteoric rise and fall of an ambitious young art dealer.
In this debut book, Whitfield recounts how he met Inigo Philbrick in art school at Goldsmiths, University of London, in 2006. Years before, Philbrick had cunningly parlayed an internship at the prestigious White Cube gallery into his own multimillion-dollar transatlantic art dealership. The author engagingly chronicles his friend’s ability to “inveigl[e] himself into the upper echelons” of the art world, trading in blue-chip art and treating the market “like a quantitative analyst.” Eventually, the cocksure operator went from simply flouting ethical boundaries to breaking legal ones, double-selling artworks and creating false value. In 2022, he was convicted of $86 million in fraud and sentenced to seven years in prison. Whitfield calls himself Nick Carraway to Philbrick's Jay Gatsby, and this glimpse into the art world of the super wealthy, “commerce dressed up as culture,” helps make his tale compulsively readable. The author broadens his critique from that of one unscrupulous player to the whole system of the modern art market, with its lack of regulations and transparency, used by collectors as a “portable way to park money,” their artworks “easily stored in tax havens like Switzerland to avoid the prying eyes of, say, divorce lawyers or tax inspectors.” Whitfield firmly indicts the “ethically grey trading practices” cloaked in art world “discretion”—i.e., deliberate obfuscation—as the modus operandi of the international art market. With exceptional candor and insight, the author is a capable guide as he introduces readers to consequential artists, dealers, curators, art philosophers, and conservators, as well as the vast potential for mischief. If the art world's primary currency is access—to art, capital, and buzz—this insider's account offers readers an enticing entry.
A self-described “failed art dealer" spills the tea on his captivating, insular world.
