Editor's Note: The EFTA document chain containing these paintings includes emails from multiple senders. Attribution of the submission to Virginia Giuffre is alleged and based on DOJ document context and is under review. Maria Farmer’s paintings draw on her own experiences as a survivor of the Epstein network (1995–1996), the documented accounts of other survivors, and her decades of tracking the network. She did not personally witness every scene depicted. This piece documents what Virginia submitted and what the paintings contain — not a claim that each image is firsthand testimony.
I. The Painter Who Was The First To Report Epstein
Maria Farmer earned her master’s degree in fine arts from the New York Academy of Art in 1995. She reported Jeffrey Epstein to the FBI in 1996. For nearly three decades she has been painting what she witnessed. Those paintings are now in the federal Epstein record. Source: ABC News
Maria Farmer is known as the first victim to report Jeffrey Epstein to the FBI — we did and interesting piece more on the story here, which involves Wexner, with more to come — she is a trained fine arts painter who earned her master’s degree from the New York Academy of Art in 1995. Before Jeffery Epstein destroyed her career, life, and drove her into hiding, she was building something real in the New York art world.
Maria never stopped painting. For nearly three decades, while fighting two cancers, while in hiding, while watching the world celebrate the criminals around her, Maria Farmer painted what she witnessed and what other victims witnessed. She has described her work in interviews as her testimony — the record she could make when no court would take her statement seriously, when she had no voice.
In April 2025, Maria Farmer submitted a selection of those paintings to the FBI as part of a 41 page evidentiary dossier. The paintings are now EFTA documents. They are federal evidence. and they are part of the official Epstein record that the DOJ released to the public under the Epstein Files Transparency Act.
This investigation examines what those paintings contain – and why what they contain is crucial.
Maria Farmer painted what she could not say in court and submitted those paintings to the FBI five days before Virginia died. They are now federal evidence.
Note: The figure's identity is not confirmed by inscription. While the blue suit coding Farmer uses consistently across this series points to Staley — the figure also bears a notable resemblance to Brad Edwards — attorney for Epstein victims. This publication reports the painting as evidence and analyzes its possible subjects based on the full record. Across these paintings, Maria Farmer uses a blue suit to mark certain men — Jes Staley wears it and other figures labeled CIA wear the blue suit also. The man with his hand over a young girl’s mouth wears it also — it is her visual language for power.
The Chess Scene
Two men sit across from each other on a floor, a chess board between them, clearly in the middle of a ‘game’. The game board itself is very symbolic.
The blonde figure on the right holding a chess piece has been identified by multiple readers as Jamie Dimon — CEO of JPMorgan Chase, the institution that banked Epstein for years, processed wire transfers tied to his trafficking operation, and ultimately paid $290 million to settle a lawsuit brought by survivors. Dimon sat for a deposition in that case. JPMorgan’s own internal records showed executives were warned about Epstein’s behavior and continued the relationship anyway, we have a full pieces on that here:
The dark haired figure in the blue suit is where interpretation splits. On his lapel, a badge reading #1 Salesman — Used Cars, Tuna Fish, AG, Epstein Recruiter.
The case for Jes Staley as the man in blue suit Staley was head of JPMorgan’s private bank and Epstein’s most powerful institutional defender. He and Epstein exchanged more than 1,000 emails from his JPMorgan account between 2008 and 2012 — after Epstein’s conviction. He called Epstein “family.” He visited Epstein’s Palm Beach residence while Epstein was serving his sentence, and visited Little Saint James, emailing Epstein from the island that he “owed him much.” The FBI named Staley on a list of at least 20 prominent men to whom Epstein had sex trafficked women and minors — a fact entered into the congressional record during a September 2025 House hearing. In December 2025 it was revealed Epstein had appointed Staley co-executor of his estate alongside Lawrence Summers. The UK Financial Conduct Authority found Staley misled regulators about the nature and duration of his relationship with Epstein and banned him from senior roles in UK financial services for life. His wife filed for divorce. Farmer’s badge — Epstein Recruiter — maps squarely onto Staley’s documented role as the man who kept Epstein inside JPMorgan’s walls long after conviction.
The case for Brad Edwards Edwards has been named repeatedly by readers and researchers who see the dark hair and features as a match. Edwards is the plaintiff’s attorney who represented Epstein survivors for years — the AG on the badge has been read as a reference to his legal role and proximity to the case from the other side of the courtroom. Edwards authored Relentless Pursuit, a first-person account of pursuing Epstein through the legal system. His name appears throughout the EFTA documentation. If Farmer intended him here, the chess framing takes on a different charge entirely — not two men in the same corrupt ecosystem, but predator and pursuer locked in a game with unequal stakes.
The figure’s identity is not confirmed in the record. Farmer’s series consistently layers visual resemblance with institutional and symbolic coding, and both readings are supported by elements within the painting. Multiple interpretations remain live.
On the badge itself:
The badge on the blue suit figure’s lapel is handwritten in Farmer’s script. The clearest lines read: #1 Salesman — Used Cars, Tuna Fish, AG, Epstein Recruiter. The top line is the most contested. It may read #1 St — it may alternatively read #1 followed by a Star of David symbol, which would be identity coding of a different kind entirely — and if so, that points more toward Edwards than Staley.
I am holding both readings open. Here is why each candidate fits, and where each reading breaks down :
The case the badge makes for Staley:
#1 Salesman — he sold Epstein to JPMorgan’s leadership, defended him internally for over a decade, kept the account open after conviction
Used Cars — the classic image of a man moving defective product with confidence, knowing exactly what he’s selling
Tuna Fish — this is the detail that lands hardest on Staley specifically. “Tuna” was the private email code word Epstein and Staley used for young women in their correspondence. It appears in the documented record. Farmer would have known this. It is not a generic insult — it is a precise, documented reference that has no known connection to Edwards
AG — could reference the nonprosecution agreement, state AG involvement in the 2008 deal, or the legal shield network Staley helped maintain around Epstein inside JPMorgan
Epstein Recruiter — consistent with the FBI list, the congressional record, the 1,000+ emails, and Staley’s decade-long institutional protection of Epstein
The case the badge makes for Edwards:
The Star of David reading on the top line, if confirmed, is an identity marker — consistent with Farmer’s documented method of coding figures by personal detail rather than leaving them purely to visual inference
AG maps onto Edwards’ legal identity and his years operating within the attorney general and civil litigation ecosystem surrounding the Epstein case
Salesman and Recruiter could be read as Farmer’s darker accusation about Edwards’ proximity to survivors — a critique of how plaintiff’s counsel navigates, and profits from, a trafficking case
The visual resemblance case is real and has been noted by multiple independent readers across the research community
Where each reading strains:
The badge language fits Staley structurally — especially Tuna Fish, which is a documented private code word that does not connect to Edwards in any known record. That detail did not end up on a badge by accident, Maria was working from knowledge of Epstein’s inner circle that predated almost everything now in the public record.
Edwards’ case rests more heavily on visual resemblance and the Star of David read than on the badge text itself.
I don’t know with certainty who this figure is and as far as I know, Farmer has not confirmed it. Both readings remain live, and I am presenting them as such.
III. Say Hi to Snow White
In 2010, Jes Staley told Jeffrey Epstein by email to ‘say hi to Snow White.’ When Epstein asked what character he would like next, Staley replied ‘Beauty and the Beast.’ Source: EFTA01652467-EFTA01652488
In July 2010 Jes Staley sent Jeffrey Epstein an email. The exchange has been reported in the public record and cited extensively in court proceedings. After a visit, Staley told Epstein: ‘That was fun. Say hi to Snow White.’ Epstein replied asking what character Staley would like next, to which Staley replied: ‘Beauty and the Beast’. Another email sent the same day — from a redacted sender — stated that Snow White had been sexually assaulted twice as soon as she put her costume on.
These emails are in the public record and Staley claims that he has no recollection of them.
Jes Staley’s email to Epstein. Source: EFTA01300650
The painting referenced in EFTA01652478 depicts a long hotel corridor lined with a bold, bright geometric carpet — an unmistakable visual echo of Stanley Kubrick’s The Shining. At the far end of the hallway stand two figures, positioned side by side, holding hands — a composition that closely mirrors the film’s iconic Grady Twins. In the film, the Grady Twins are the daughters of a former caretaker of the Overlook Hotel — their father murdered them (and their mother) — which is why they appear as ghosts haunting the hotel. Here, in Maria’s painting, the figures are dressed in Snow White costumes — blue bodices, yellow skirts, and white collars. Their faces are obscured. At the bottom of the corridor, lying on the carpet, is a magazine — its cover partially visible. The cover image — a woman with wide, unsettled eyes — bears a striking resemblance to Shelley Duvall also from The Shining. Whether intentional or not, the visual reinforces the same atmosphere already established in the painting: that of isolation, fear, and psychological rupture.
Photos from the Shining film
The connection to The Shining is more interpretive — but it’s also hard to ignore. The corridor, the geometric carpet, the positioning of two figures at the end of a long, enclosed space — it closely mirrors one of the most recognizable visual compositions in film. Whether Maria Farmer explicitly intended that reference isn’t publicly documented.
This painting, submitted to the FBI, connects the Snow White imagery directly to a figure performing a silence gesture with JPMorgan/Chase documentation on the floor. — EFTA01652486
A second painting in the same series makes the connection explicit. A man standing in underwear, performing the literal universal gesture for silence — finger to lips — where you can see behind him, visible in a mirror, is a Snow White figure lying in a bed. On the floor around him are documents — a Chase Manhattan card is visible among them, a note, a business card
IV. Louis Freeh: The Former FBI Director
Louis Freeh served as FBI Director from 1993 to 2001. After leaving government he conducted investigative work that benefited figures in the Epstein network. Maria Farmer named him in this painting. Source: EFTA01652467-EFTA01652488
In another painting submitted — EFTA01652475 — a man in a blue suit stands behind a young girl — his hand is placed over her mouth. The girl is wearing a plaid skirt and a white top, a city skyline is visible through the window behind them.
At the bottom left of the painting, in Maria Farmer's handwriting: Epstein, Waco, Louis Freeh.
Louis Freeh served as Director of the Federal Bureau of Investigation from 1993 to 2001. After leaving government he entered private legal practice where he conducted investigative work that benefited figures in the Epstein network — including an independent investigation that cleared Alan Dershowitz of allegations made by an Epstein victim, and a report submitted on behalf of Maxwell's defense team regarding President Clinton's presence on the island.
The FBI Director who presided over the institution that ignored Maria Farmer's 1996 complaint later conducted work on behalf of figures connected to the man she had reported. Maria Farmer painted this, she named him in the painting along Epstein and Waco. She then submitted it to the FBI — the institution Freeh once led.
V. Seems Like Old Times
Left and right panels of Maria Farmer's — "Seems Like Old Times" diptych. Left: a male figure resembling Donald Trump crouches near a bed where a dark haired woman resembling to me, Ghislaine Maxwell, reads. Right: a figure recognizable as William Barr with a decapitated Epstein head on the sofa beside him. Source: EFTA01652467-EFTA01652488
Here are some shots of the photo’s on the wall in the JE/Barr painting:
The last photo looks like a young JE to me. I have a few guesses for the first, Trump, Clinton, Biden — Barr ? Any ideas? If anyone reading has any suggestions leave em in the comments, lets figure it out together!
Among the paintings submitted to the FBI, one carries a handwritten title at the bottom in Maria Farmer’s own script: “Seems Like Old Times.” The phrase is loaded — an invocation of familiarity, history, of something that has happened before and is happening again.
The work itself is a diptych, two scenes placed side by side. That structure is not incidental — it forces a comparison. On one side, a domestic interior featuring a figure resembling Barr and Epstein. On the other, a separate scene depicting Trump with a figure resembling Maxwell. Two different settings but two configurations of power — presented in parallel.
“Seems Like Old Times” doesn’t describe a single moment — it implies recurrence. It suggests that what is being depicted is not isolated, but part of a pattern. Something repeating — a cycle — a network.
Note: Trump’s documented connections to Epstein: multiple depositions, social records, and flight logs place them in the same social circles from the 1990s through the mid 2000s. Trump has stated that he “knew Epstein like everybody in Palm Beach knew him” and described him as a “terrific guy” in a 2002 interview. Trump later stated they had a falling out and that he was “not a fan.”
VI. Edwards Pottinger LLC: The False Worship by Lawyers
Maria Farmer painted Edwards Pottinger LLC — the law firm that represented Epstein victims — with a devil figure at the podium. Source: EFTA01652467-EFTA01652488
The painting is titled in Maria Farmer’s own handwriting at the top and bottom: ‘The Double-Handed Deck’ and ‘The False Worship by Lawyers.’
Edwards Pottinger LLC was the law firm of Brad Edwards and J. Stanley Pottinger — attorneys who represented Epstein victims including Virginia Giuffre. Pottinger died in November 2024. In Maria’s separate written correspondence – EFTA01652471 – she alleges Pottinger hit on her repeatedly, tried to kiss her after a deposition, and that she was blackmailed into providing that deposition as a condition of legal representation.
Above the podium, Farmer labels the institutions directly: EDWARDS POTTINGER LLC, JPMorgan Chase & Co, and Deutsche Bank.
To me, this figure looks likeJamie Dimon, the CEO of JP Morgan. Given that JPMorgan is explicitly labeled in this painting and he’s the most prominent face of that institution in the Epstein civil litigation context, it would make sense. JPMorgan paid $290M to settle Epstein related claims, and Dimon was deposed.
The “LIAR” written on the tie (if I’m reading that correctly from the crop) would be a direct editorial statement from Farmer about that figure’s credibility or testimony.
Upate 04/12/26 — looking again I think his tie reads CIA.
To me, this figure resembles Brad Edwards — the attorney who pursued Epstein cases for years — with Jes Staley standing on his shoulders, as a devil, with dollar signs on his jacket. Note the red bottom shoes on Edwards (if you know, you know) it is hard for me to make out the text on the tie.
VII. The Hero You Forgot to Honor: Maria Paints Virginia
Titled ‘The Hero You Forgot to Honor.’ Virginia knocks out a demonic figure resembling QE2. Source: EFTA01652467-EFTA01652488
This one is titled in the email chain that contains it: ‘The Hero You Forgot to Honor.’
The painting shows a blonde woman standing upright in a blue dress — she is stepping forward, punching a cloaked demonic figure.
Two versions of this painting were submitted. The blonde woman is Virginia Giuffre — the collapsing figure — which many say resembles Queen Elizabeth 2 — represents the entire institution that failed her. Maria painted this and then chose it as part of the evidence she filed with federal agents only 5 days before she died.
VIII. The Palestine Paintings and the Institutional Accusation
Maria Farmer’s most politically explicit painting submitted to the FBI. The central figure holds Weinstein and a CIA-labeled figure. FREE PALESTINE at the bottom. Source: EFTA01652467-EFTA01652488
The most politically charged works Maria Farmer submitted are the Free Palestine series. A large central figure in a blue suit dominates the composition — enormous relative to everyone else in the frame. On his knees, rendered in miniature, is a figure that reads as Harvey Weinstein. Beside him are two figures: one female, one male. The female has been read by multiple viewers as Marjorie Taylor Greene. The male figure wears a sweater with a heart on it, the word Crack, Creep or Greed, possibly something else, written — broken. Off to the side, two figures in Israeli flag clothing roll on the floor like helpless infants. A label reads: CIA TOYS. The central figure towers over all of them. They are literally at his feet or tumbling like children.
Who is the central figure?:
This is the painting’s most contested identification, and I am holding two readings open.
The case for Steve Bannon: The blue suit, the physical bulk, the political dominance framing, and the nationalist iconography surrounding him produced an immediate Bannon read for many viewers including this writer on first pass. Bannon has positioned himself as a political architect operating outside of conventional power — the scale of the figure relative to everyone else maps onto that self conception. The CIA TOYS label at the bottom corner fits a reading about controlled opposition and manufactured populism.
The case for David Boies: Readers in the comments flagged this identification and looking again, the internal logic of the painting supports it more than Bannon. Boies represented Epstein survivors — and Epstein himself at different points in the litigation. His firm was hired by Harvey Weinstein to surveil and silence Weinstein’s accusers using private intelligence operatives, which makes the miniature Weinstein figure kneeling at this man’s feet a direct accusation rather than a coincidence. The tefillin wrapped around the central figure’s arm reads differently under a Boies identification — not religious identity, but bound allegiance. Farmer’s editorial statement about who this figure truly serves and what binds him — Boies is not Jewish to my knowledge, but Farmer’s use of Jewish religious symbolism across the series functions as institutional and ideological coding, not always literal identity. The Boies read is more consistent with the painting’s internal document logic and with the series as a whole.
I don’t know with certainty so both readings remain live.
The figure with the red heart, the word Crack (possibly Creep or Greed) written inside it
This figure sits crouched in a subordinate position, dark hair, heavy brows, angular jaw, and again the blue suit. The face is rendered in Farmer’s caricature register — exaggerated features, compressed and slightly grotesque. On his chest a red heart with a word painted directly inside it. The clearest read is Crack. Creep and Greed have also been proposed and none can be fully ruled out from the available image. All three fit the figure I believe Farmer intended
My read is Anthony Weiner.
Crack on a heart is a precise description of Weiner’s trajectory — a man who repeatedly, compulsively broke his own life open in public. Multiple times! If the word is Creep, that label needs no explanation in Weiner’s case. If it is Greed, it extends the accusation beyond personal dysfunction into the political ecosystem he inhabited and served.
FREE PALESTINE written at the base of this composition — Weiner was one of the most vocal pro Israel voices in Congress throughout his career, a fierce and consistent defender of Israeli policy. Farmer placing him inside a painting titled Free Palestine, crouched and subordinate, is a direct political statement about that position and the network it connected him to.
His downfall intersected directly with Huma Abedin — Hillary Clinton’s closest aide — and the Clintons are already in this painting, rendered as infantilized figures in Israeli flag clothing tumbling on the floor. Weiner is not separate from that composition but is part of its logic.
The crouched subordinate position fits. Adjacent to Clinton power for years, never equal to it, ultimately consumed by compulsions that made him useful and then disposable to the ecosystem he served.
Farmer painted his weakness onto his chest and labeled it. Whether that word is Crack, Creep, or Greed — she made sure it was visible.
The figure’s identity is this writer’s interpretive read. It is not confirmed in the record. If anyone has any other reads please comment!
The figures on the floor:
The two figures in Israeli flag clothing rolling like infants have been widely read as the Clintons — rendered helpless, infantilized, literally tumbling at the feet of a more powerful operator. They are not participants in this composition but props. The CIA TOYS label in the bottom corner of the piece, makes this connect: these are not autonomous political actors. They are assets.
The Israeli flag clothing is Farmer’s most direct statement about where their allegiance was purchased and what it cost them. They are not wearing American flags, they are not wearing their own colors, they are dressed in someone else’s iconography, rolling on the floor, while the dominant figure towers above them smiling.
Farmer does not portray them as villains, necessarily, but as something worse — as people who gave away whatever power they had and ended up with nothing to show for it except the costumes they were handed.
The blonde figure:
Beside the central dominant figure, seated small on the floor, is a blonde woman with long hair, rosy cheeks, and a wide smile — rendered in Farmer’s caricature register with a performed happiness expression that reads to me as deliberate. She is not tumbling like the Clintons and she is not crouched like the figure with the cracked heart, she is simply there — more normal. Small, smiling, positioned at the feet of power as though that proximity is itself the point.
I have three candidates to propose, and I am holding all three open and inviting readers to weigh in.
The case for Marjorie Taylor Greene
The long blonde hair, rosy complexion and wide smile match Greene’s public visual profile. The objection is a logical one — Greene entered Congress in 2021 and has no documented connection to the Epstein network or the figures surrounding her in this composition. If Maria Farmer painted this before Greene’s political rise, the identification becomes difficult to sustain on timeline, and if it is MTG, what Farmer would be saying here is purely political theater — a woman who performs allegiance to power she doesn’t hold and never will. That reading is coherent but the foundation is unstable.
The case for Melania Trump
The visual is strong — blonde, rosy, the smile that has been read by observers for decades as performed rather than felt. She has spent her public life positioned beside and beneath dominant male power in exactly the way this figure is painted. Farmer miniaturizing her and placing her at the feet of the central figure would be a precise statement about what that position actually costs and what it actually means. The political coding of the painting — CIA TOYS, FREE PALESTINE, the Clintons infantilized — fits the Trump era.
The case for Ivanka Trump:
Ivanka fits both the visual and the internal logic of this painting more tightly than either of the above. The blonde hair, rosy cheeks and performative smile match. More importantly, Ivanka is not peripheral to elite power networks the way MTG is — she operates inside of them. Her proximity to financial elites, her husband, her father’s network, and the broader ecosystem this painting is documenting makes her presence here an accusation rather than a decoration. Farmer placing her miniaturized and smiling at the feet of the dominant central figure — whether that figure is Boies or Bannon — makes a specific claim — this woman’s smile may respresent the cost of entry into these circles, and she paid it.
All three readings I will leave posted. The visual alone cannot settle this, and if you recognise this figure — or have a candidate I have not considered — please leave it in the comments. This catalogue is a living document and reader contribution has already shifted identifications in this series.
The falling figure with the American flag:
The figure I want to address separately appears inverted — upside down, falling, an American flag visible in the composition. My read, with reasonable confidence, is RFK Jr. The facial structure fits, to me. The flag fits his brand of patriotic outsider politics and the inverted falling position toward the central dominant figure is Farmer’s clearest visual statement about trajectory — someone who spent years positioning himself as a truth teller, a dissident, a man willing to name what others wouldn’t, and who in Farmer’s reading ended up a captured asset moving toward power rather than against it.
The alternative read is Al Gore, thanks to the comments here.
Gore is in the EFTA files. His proximity to this network is documented and the flag coding fits a former Vice President as readily as it fits RFK. The falling/inverted position could represent a different kind of captured trajectory — the environmental crusader who moved through elite philanthropic and financial circles that intersect directly with the Epstein network.
Both figures represent the same archetype in Farmer’s visual language: the man who told the public he was on their side.
The Jewish religious symbolism — tefillin on the central figure, Israeli flag clothing on the other figures — is institutional and ideological coding. Farmer is not making a statement about Judaism itself, more likely Zionism, but she is making a statement about allegiance, performance, and who these men actually serve.
The identifications in this painting are this writer’s interpretive readings and reader-flagged observations. None are confirmed in the record. Multiple interpretations remain live and will be updated as the catalogue develops.
Off to the side, the Clintons seem to be rolling on the floor like helpless infants, dressed in Israeli flag clothing. Bannon is enormous relative to everyone else. They're literally at his feet or tumbling like babies. "CIA TOYS" as a label at the bottom of the redacted part.
and wtf is redacted here?!
AIPAC, ADL, CIA, Free Palestine, and the Starving Child
Maria Farmer’s political accusation painting submitted to the FBI as evidence. AIPAC, ADL, and CIA labeled on the figure’s dress. A starving child at her feet. The figure is identified by some as Meghan McCain, though this is not confirmed in the record. Source: EFTA01652467-EFTA01652488
This is one of the most explicit paintings in the series. A large, blonde woman stands dominant and smiling at the center of the composition, towering over a starving child. She wears a white blouse and red skirt, an American flag pin on her chest, with what appears to be the star of david, rather then the traditional 50 star American flag, this represents the heavy ties between US and Israel.
In her left hand she holds a blue plate with what appears to be a cake or a wheel of cheese, white, with a Star of David rendered in red at the center — blood red, not a garnish, but a mark. In her right hand she holds a pitchfork — the tines visible, the instrument unmistakable.
Farmer has given this woman a plate of food stamped with a Star of David in red and a pitchfork to eat it with — or to serve it with, or to drive it with. The ambiguity is the point. The woman smiles while the child at her feet is starving. At the hem of her skirt, Farmer has written the names of three organizations separated by Stars of David: AIPAC. ADL. CIA.
A child sits emaciated and wounded while a dog scavenges in the background. FREE PALESTINE is written at the base of the piece. Beneath the child: a redaction. Something covered, something Farmer painted below the most vulnerable figure in the painting.
The figure dominating is Meghan McCain.
The woman’s attire, the blonde hair, her physical build and red lipstick smile match McCain’s public image with precision that does not read as coincidence — it reads as portraiture. The inspiration photo Farmer used is posted above, she painted a specific woman here and wanted us to know.
i believe the message Farmer is making here is not about Meghan McCain personally as an operator within the Epstein network, but it is about inheritance, legacy, and what it means to build your entire public identity around loyalty to a name without ever repudiating what that name did.
John McCain spent decades on the Senate Armed Services Committee. He championed the Iraq War — a conflict that killed hundreds of thousands of civilians, including countless children and he maintained close ties to defense contractors, to the CIA, and to pro Israel lobbying groups including AIPAC. He stood with the ADL repeatedly on questions of antisemitism — a designation routinely deployed to shut down criticism of Israeli policy, criticism that often comes from the same communities pointing at dead children. Meghan McCain has never repudiated any of this. Instead, she has made her public career out of being the loyal daughter of that legacy — the Maverick’s daughter, honoring the Maverick’s choices, standing on the Maverick’s record.
Farmer put those three names on her skirt and painted a starving child at her feet.
The plate the figure holds — blue, with a red symbol at its center — has been read as a seal, a flag, or an offering. Whatever it contains, it is not going to the child on the ground. The redaction beneath the child is the painting’s most pointed editorial move. Something is being hidden at the exact place where the child sits.
IX. What the FBI Now Has
Maria Farmer submitted these paintings to the FBI on April 20, 2025. They are now EFTA documents. By submitting them to federal authorities, she placed them in the evidentiary record — a final act of testimony. They are in the federal record forever.
A trained fine arts painter spent 30 years documenting what she witnessed, encoding the pieces with messages. A federal witness submitted that documentation to the FBI five days before she died — the FBI has them — so does the public.
If you or someone you know is struggling, please reach out. Call or text 988 (US Suicide and Crisis Lifeline). Outside the US, visit befrienders.org. You are not alone.
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EFTA01652473/74 — Jes Staley chess painting. Badge: #1 Salesman -- Used Cars, Tuna Fish, AG, Epstein Recruiter. JPMorgan Chase & Co in background. DOJ Epstein Library Dataset 10.
EFTA01652475/76 — Louis Freeh painting. Man in blue suit, hand over young girl’s mouth. Text: Edwards, Waco, Louis Freeh. DOJ Epstein Library Dataset 10.
EFTA01652477 — "Seems Like Old Times" diptych. Left panel: male figure resembling Trump crouches near bed where dark-haired woman reads. Right panel: Epstein figure with caged female figure. DOJ Epstein Library Dataset 10.
EFTA01652478 — Snow White corridor painting. Two figures in Snow White costumes. The Shining carpet. Magazine with Epstein face. Text message: Prey-lie-ya was an adult sex worker turned SIX YEAR PRO.
EFTA01652479/80 — Free Palestine paintings. Weinstein miniature. CIA label. Tefillin. Full group composition.
EFTA01652481 — The Double-Handed Deck. Edwards Pottinger LLC on podium. JPMorgan Chase on building. The False Worship by Lawyers.
EFTA01652482/83 — The Hero You Forgot to Honor. Virginia as blonde figure. FBI collapsing beneath her.
EFTA01652486 — Shushing painting. Snow White reflection in mirror. Chase documentation on floor.
The first painting the man on the right looks like Jamie Dimon, head of JPMorgan Chase.
Have you examined her work “THE SETILES”? Lots of other names and likenesses there too, telling all the secrets..