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