Back The Rembrandt Affair
Chapters (90)
  1. PROLOGUE
  2. PART ONE: PROVENANCE
  3. CHAPTER 1
  4. CHAPTER 2
  5. CHAPTER 3
  6. CHAPTER 4
  7. CHAPTER 5
  8. CHAPTER 6
  9. CHAPTER 7
  10. CHAPTER 8
  11. CHAPTER 9
  12. CHAPTER 10
  13. CHAPTER 11
  14. CHAPTER 12
  15. CHAPTER 13
  16. CHAPTER 14
  17. CHAPTER 15
  18. CHAPTER 16
  19. CHAPTER 17
  20. CHAPTER 18
  21. CHAPTER 19
  22. CHAPTER 20
  23. CHAPTER 21
  24. CHAPTER 22
  25. PART TWO: ATTRIBUTION
  26. CHAPTER 23
  27. CHAPTER 24
  28. CHAPTER 25
  29. CHAPTER 26
  30. CHAPTER 27
  31. CHAPTER 28
  32. CHAPTER 29
  33. CHAPTER 30
  34. CHAPTER 31
  35. CHAPTER 32
  36. CHAPTER 33
  37. CHAPTER 34
  38. CHAPTER 35
  39. CHAPTER 36
  40. CHAPTER 37
  41. CHAPTER 38
  42. CHAPTER 39
  43. CHAPTER 40
  44. CHAPTER 41
  45. PART THREE: AUTHENTICATION
  46. CHAPTER 42
  47. CHAPTER 43
  48. CHAPTER 44
  49. CHAPTER 45
  50. CHAPTER 46
  51. CHAPTER 47
  52. CHAPTER 48
  53. CHAPTER 49
  54. CHAPTER 50
  55. CHAPTER 51
  56. CHAPTER 52
  57. CHAPTER 53
  58. CHAPTER 54
  59. CHAPTER 55
  60. PART FOUR: UNVEILING
  61. CHAPTER 56
  62. CHAPTER 57
  63. CHAPTER 58
  64. CHAPTER 59
  65. CHAPTER 60
  66. CHAPTER 61
  67. CHAPTER 62
  68. CHAPTER 63
  69. CHAPTER 64
  70. CHAPTER 65
  71. CHAPTER 66
  72. CHAPTER 67
  73. CHAPTER 68
  74. CHAPTER 69
  75. CHAPTER 70
  76. CHAPTER 71
  77. CHAPTER 72
  78. CHAPTER 73
  79. CHAPTER 74
  80. CHAPTER 75
  81. CHAPTER 76
  82. PART FIVE: RECOVERY
  83. CHAPTER 77
  84. CHAPTER 78
  85. CHAPTER 79
  86. CHAPTER 80
  87. CHAPTER 81
  88. AUTHOR’S NOTE
  89. ACKNOWLEDGMENTS
  90. ABOUT THE AUTHOR

“Because you can’t buy what’s not for sale. Remember, the vast majority of the world’s masterpieces will never come on the market. And for some collectors—men used to always getting what they want—the unobtainable can become an obsession.”

“And if someone like that has Julian’s Rembrandt? What are the chances of finding it?”

“One in ten, at best. And the odds of recovery drop precipitously if it isn’t recovered quickly. People have been searching for that Manet for two decades.”

“Maybe they should try looking in Japan.”

“That’s not a bad idea. Any others?”

“Not an idea,” Chiara said carefully. “Just a suggestion.”

“What’s that?”

“Your friend Julian needs you, Gabriel.” Chiara pointed to the photographs spread along the countertop. “And so does she.”

Gabriel was silent. Chiara picked up the photograph showing the canvas in full.

“When did he paint it?”

“Sixteen fifty-four.”

“The same year Hendrickje gave birth to Cornelia?”

Gabriel nodded.

“I think she looks pregnant.”

“It’s possible.”

Chiara scrutinized the image carefully for a moment. “Do you know what else I think? She’s keeping a secret. She knows she’s pregnant but hasn’t worked up the courage to tell him.” Chiara glanced up at Gabriel. “Does that sound familiar to you?”

“I think you would have made a good art historian, Chiara.”

“I grew up in Venice. I am an art historian.” She looked down at the photo again. “I can’t leave a pregnant woman buried in a hole, Gabriel. And neither can you.”

Gabriel flipped open his mobile phone. As he entered Isherwood’s number, he could hear Chiara singing softly to herself. Chiara always sang when she was happy. It was the first time Gabriel had heard her sing in more than a year.

CHAPTER 8

8

RUE DE MIROMESNIL, PARIS

The sign in the shop window read ANTIQUITÉS SCIENTIFIQUES. Beneath it stood row upon row of meticulously arranged antique microscopes, cameras, barometers, telescopes, surveyors, and spectacles. Usually, Maurice Durand would spend a moment or two inspecting the display for the slightest flaw before opening the shop. But not that morning. Durand’s well-ordered little world was beset by a problem, a crisis of profound magnitude for a man whose every waking moment was devoted to avoiding them.