by Daniel Silva
The assignment in Paris intruded on his thoughts. There was something that had been bothering him—the man who entered the gallery just before the bomb had exploded. The Englishman was the product of an elite unit and capable of spotting the influence in others: the light-footed gait; the subtle combination of absolute confidence and eternal vigilance. The man had been a soldier once—or perhaps something more complicated.
But there was something else. The Englishman had the nagging sensation he had seen the man somewhere before. And so he lay there for the next several hours, sorting through the countless faces stored in his memory, looking for him.
19
LONDON
THE BOMBING of the Müller Gallery had done more than create a security problem for Gabriel in Paris. It had eliminated his only obvious lead in the case. Now he had to start over from the beginning, which is why, late the following morning, he was drifting across Mason’s Yard toward Julian Isherwood’s gallery through a gentle rain.
On the brick wall next to the door was a panel, and on the panel were two buttons and two corresponding names: LOCUS TRAVEL and ISHER OO FINE ARS. Gabriel pressed the second and waited. When the buzzer sounded, he pushed open the door and mounted the stairs: same threadbare brown carpet, same Rorschachesque stain on the third step where a hung-over Isherwood had spilled coffee the morning after Oliver Dimbleby’s drunken birthday bash at the Mirabelle. At the top landing were two doors, one leading to the gallery, the other to a small travel agency where a plain woman sat behind a headmasterly desk, surrounded by posters promising boundless excitement in exotic locales. She glanced up at Gabriel, smiled sadly, and returned to her needlepoint.
Though Julian Isherwood clung unwisely to the paintings in his inventory, he did not do the same with the girls who answered his telephones and kept his appalling files. He hired and drove them away with seasonal regularity. So Gabriel was surprised to see Irina, a black-haired leopard of a girl whom Isherwood had taken on six months ago, still at her post behind the desk in the anteroom.
The door separating the anteroom and Isherwood’s office stood slightly ajar. Isherwood was with a client. Gabriel could see a painting propped on the black, felt-covered viewing pedestal. Italian Old Master by the look of it; no one Gabriel recognized. Isherwood paced the carpet slowly behind it, hand on his chin, eyes on the floor, like a barrister awaiting an answer from a hostile witness.
“He’d like you to wait upstairs in the exhibition room,” the girl purred. “I assume you know the way.”
Gabriel entered the tiny lift and rode it upward. The exposition room was a place of shadows, quiet except for the rain pattering on the skylight. Large Old Masters canvases hung on each of the walls: a Venus by Luini, a nativity by del Vaga, a baptism of Christ by Bordone, a luminous landscape by Claude. Gabriel left the lights off and sank heavily onto the velvet-covered divan. He loved this room. It had always been a sanctuary; an island of peace. He had once made love to his wife in this room. Years later, he had plotted the death of the man who had taken her away from him.
The door of the lift opened and Isherwood entered.
“My God, Gabriel, but you look like complete hell.”
“Is that supposed to be a compliment?”
“What the hell’s going on? Why aren’t you in Zurich?”
“The owner of the painting you sent me to clean was a man named Augustus Rolfe. Ever heard of him?”
“Oh, good Lord—the one who was murdered last week?”
Gabriel closed his eyes and nodded. “I found his body.”
Isherwood noticed the bandages. “What happened to your hands?”
“You heard about the explosion at the gallery in Paris yesterday?”
“Of course—this place is buzzing about it. Surely you weren’t involved in that?”
“No, I just happened to be in the wrong place at the wrong time. I’ll tell you everything, Julian, but first I need your help.”
“What sort of help?” Isherwood asked cautiously.
“Nothing like the old days. I just need you to explain why an aging Swiss banker might have kept a very impressive collection of French Impressionist and Modern paintings hidden from the world in an underground vault.”
Isherwood pressed the button on the intercom. “Irina, would you be a love and bring a pot of coffee up to the exposition room? And some of those biscuits too. The ones with the nuts. And hold all my calls, please. There’s a good girl.”
GABRIEL knew the basics about the Nazi rape of Europe’s art treasures during the Second World War. Adolf Hitler had dreamed of building a massive Führermuseum in his hometown of Linz and filling it with the world’s finest collection of Old Masters and Northern European art. In 1938, he initiated a secret operation code-named Sonderauftrag Linz—Special Operation Linz—to acquire art for the Führermuseum by any means necessary. During the last months of peace, his agents secretly toured the museums, galleries, and private collections of Europe, selecting works for the future museum. When war broke out, Hitler’s art thieves followed hard on the heels of the Wehrmacht. Hundreds of thousands of paintings, sculptures and objets d’art quickly vanished, many of them Jewish-owned. Thousands of works, valued at roughly $30 billion, were still missing.
Gabriel knew that Julian Isherwood could fill in the rest of the details for him. Isherwood was an above-average art dealer who’d had his fair share of triumphs, but when it came to the Nazi plunder of Europe he was something of an expert. He had written dozens of articles for newspapers and trade publications and five years earlier had coauthored a well-received book on the subject. Despite the pleas of his publisher, he had steadfastly refused to reveal his personal motivation for pursuing the topic. Gabriel was among the handful of people who knew why: Julian Isherwood had lived through it.
“In 1940, London and New York didn’t matter,” Isherwood began. “Paris was the center of the art world, and the center of the Paris art scene was the rue de la Boétie in the eighth arrondissement. The famous Paul Rosenberg had his gallery at number twenty-one. Picasso lived across a courtyard at number twenty-three with his wife, the Russian dancer Olga Koklova. Across the street stood the gallery of Étienne Bignou. Georges Wildenstein had his gallery at number fifty-seven. Paul Guillaume and Josse Hessel were also there.”
“And your father?”
“Isakowitz Fine Arts was next to Paul Rosenberg’s. We lived in a flat above the main exposition rooms. Picasso was ‘Uncle Pablo’ to me. I spent hours at his flat. Sometimes, he’d let me watch him paint. Olga used to give me chocolate and cake until I was sick. It was an enchanted existence.”
“And when the Germans came?”
“Well, it all came crashing down, didn’t it? The invasion of the Low Countries started on May tenth. By June fourteenth, the Germans had entered Paris. Swastikas hung from the Eiffel Tower, and the German General Staff had set up shop at the Hôtel Crillon.”
“When did the looting start?”
“Two days after Hitler’s victory tour of Paris, he ordered all works of art owned by Jews to be transferred to German hands for so-called safekeeping. In reality, the plunder of France was on.”
“If I remember correctly, Hitler set up an organization to oversee the looting of France.”
“There were several, but the most important was a unit called the ERR: the Einsatzstab Reichsleiter Rosenberg. It was a formidable enterprise. It had its own intelligence service for hunting down works of art, a strike force for raids and seizures, and a staff of art historians and appraisers. My God, it even had its own carpenters for crating looted works for shipment to Germany.”
“The rue de la Boétie must have been their first stop.”
“The ERR went after the dealers and the collectors. The Rothschild collections were seized along with their residences. So were the collections of the Jewish banking magnate David David-Weill and Jacques Stern. All the Jewish-owned galleries on the rue de la Boétie were raided and their collections seized, includ
ing the inventory of Isakowitz Fine Arts.”
“Did your father manage to protect any of his works?”
“Most dealers, my father included, tried to protect their most important pieces. They hid them in remote chateaux or bank vaults or shipped them out of the country. But the unprotected works were quickly snatched up by the Germans. Before the invasion, during the drôle de guerre, my father rented a villa in Bordeaux and moved his most important pieces there. We fled there as the Germans closed in on Paris. When France was divided into the Occupied Zone and the Unoccupied Zone, we ended up on the Vichy side of the line. But in the autumn of 1940, an ERR strike force with a French police escort broke down the door of the villa and seized my father’s paintings.”
“How did the Germans find his collection?”
“He’d made the mistake of telling a French dealer what he planned to do with his paintings. The Frenchman turned over the information to the ERR in exchange for a payoff of five percent of the value of my father’s collection. C’est la vie.”
Gabriel knew what had happened next, and he had no intention of allowing Isherwood to tell it again. Shortly after the Germans moved into the Unoccupied Zone late in 1942, the SS and their allies in the Vichy government began rounding up Jews for internment and deportation to the death camps. Isherwood’s father hired a pair of Basque smugglers to take young Julian over the Pyrenees into the sanctuary of Spain. His mother and father stayed behind in France. In 1943 they were arrested and sent to Sobibor, where they were immediately murdered.
Isherwood shivered once violently. “I’m afraid I feel a drink coming on. On your feet, Gabriel. Some fresh air will do us both some good.”
THEY walked around the corner to a wine bar in Jermyn Street and settled next to a hissing gas fire. Isherwood ordered a glass of Médoc. His eyes were on the flames, but his mind was still in wartime France. Like a child creeping into his parents’ room, Gabriel gently intruded on his memories.
“What happened to the paintings once they were seized?”
“The ERR commandeered the Musée Jeu de Paume and used it as a storage facility and sorting house. A large staff worked night and day to catalogue and appraise the massive amount of art that was falling into German hands. Those works deemed suitable for the Führer’s private collection, for the Linz project, or other German museums—mainly Old Masters and Northern European works—were crated and shipped off to the Fatherland.”
“And the rest of it? The Impressionists and the Modern works?”
“The Nazis considered them degenerate, but they weren’t about to let them get away without first extracting something in return. Most of the nineteenth-and twentieth-century works were sold off to raise cash or set aside to be used in exchanges.”
“What sort of exchanges?”
“Take Hermann Göring, for example. He owned a large hunting lodge south of Berlin called Carinhall in honor of his dead wife, a Swedish aristocrat named Carin von Fock. It contained one of the largest private collections in Europe, and Göring used his extraordinary power to enlarge it substantially during the war. He treated the storerooms of Jeu de Paume as though they were his private playground.”
Isherwood drained his glass and ordered another.
“Göring was a greedy bastard—he grabbed more than six hundred paintings from the Jeu de Paume alone—but he went to great lengths to make it appear as though his acquisitions were, on paper at least, legal purchases rather than outright thefts. If Göring wanted a work, he had it specially appraised at a ludicrously low level by a handpicked fonctionnaire. Then he would immediately take possession and promise to send the money into a special ERR account. In reality, he paid nothing for the paintings he took from Paris.”
“Did they end up in Carinhall?”
“Some, but not all. Göring shared Hitler’s disdain for Modern and Impressionist paintings, but he knew they could be sold off or traded for pieces more to his taste. One deal was carried out by Göring’s agents in Italy. In exchange for seven Italian Old Masters works and several other objets d’art, Göring handed over nine paintings seized from the Jeu de Paume. Van Gogh, Degas, Cézanne, Renoir, and Monet, just to name a few—all stolen from Jewish collections and galleries. Göring carried out several other similar exchanges involving dealers in Switzerland.”
“Tell me about the Swiss connection.”
“Neutrality left the dealers and collectors of Switzerland in a unique position to capitalize on the rape of Paris. The Swiss were permitted to travel throughout much of Europe, and the Swiss franc was the world’s only universally accepted currency. And don’t forget that places like Zurich were awash in the profits of collaborating with Hitler. Paris was the place to buy looted art, but Zurich, Lucerne, and Geneva were the places to unload it.”
“Or stash it?”
“But of course. The banking secrecy laws made Switzerland a natural dumping ground for looted art. So did the laws covering the receipt of stolen property.”
“Explain the laws to me.”
“They were brilliant, and thoroughly Swiss in subtlety. For example, if a person takes possession of an object in good faith, and that object happens to be stolen, it’s rightfully his after five years.”
“How convenient.”
“Wait, there’s more. If an art dealer finds himself in possession of a stolen work, it’s the responsibility of the true owner to reimburse the dealer in order to reclaim his painting.”
“So Swiss dealers and collectors could receive stolen works without any fear of the law or of losing money?”
“Exactly.”
“What happened after the war?”
“The Allies dispatched an art expert named Douglas Cooper to Switzerland to try to find the truth. Cooper determined that hundreds, if not thousands, of stolen works had entered Switzerland during the war. He was convinced that many of them were hidden in bank vaults and bonded warehouses. Paul Rosenberg went to Switzerland to have a look round for himself. In a gallery in Zurich, he was offered a Matisse that had been looted from his very own collection.”
“Remarkable,” Gabriel said. “What did the Swiss government do with this information?”
“It promised the Allies that it would cooperate in a thorough inquiry. It promised to freeze all German assets that had entered the country during the war and to conduct a nationwide census of all such assets. It implemented neither measure. Douglas Cooper suggested suspending the licenses of any dealer who traded in looted art. The Swiss government refused. Then the Swiss Federation of Art Dealers told its members not to cooperate. In short, the Swiss government did what it always does. It shielded its business and its citizens from the eyes of foreigners.”
“Did dealers like Paul Rosenberg try to reclaim their paintings in court?”
“A few tried, but the deck was stacked against them. The Swiss made it time-consuming and very expensive for a foreigner to try to reclaim property from a Swiss citizen. The Swiss usually took shelter behind a claim of good faith. And remember, most of the art in question was stolen by the Nazis in 1940. By 1945, under the five-year rule of Swiss law, the rightful owners no longer had a valid legal claim. Needless to say, most plaintiffs walked away empty-handed.”
“Do you think any of it’s still there?”
“In my opinion, Gabriel, most of it’s still there. From the little bit you’ve told me, it sounds as though some of those paintings may have been in the hands of Augustus Rolfe.”
“Not anymore.”
Isherwood finished the last of his wine, and his gaze drifted back to the fire. “I think it’s your turn to do the talking, Gabriel. Tell me everything. And no lies this time. I’m too old to be lied to anymore.”
OUTSIDE it was raining again. On the way back to the gallery they sheltered together beneath Isherwood’s umbrella like mourners in a cortege. Gabriel had told Isherwood everything, beginning with the discovery of Rolfe’s body and ending with the explosion at Werner Müller’s gallery in Paris. Isherw
ood had drunk two more glasses of Médoc, and his haphazard gait showed the effects.
“Shamron,” Isherwood said sotto voce, his voice dripping with scorn. “I should have known that bastard had something to do with this. I thought they’d finally put him out to pasture for good this time.”
“They always find a reason to bring him back.”
“They say she’s quite the diva, Anna Rolfe.”
“She has her moments.”
“If I can give you one piece of advice, my dear boy, assume at all times that she knows more about her father and his collection than she’s telling you. Daughters tend to be very protective of their fathers, even when they think their fathers are complete bastards.”
“I’ll try to keep that in mind.”
“It may just be an ordinary art theft.”
“They left a Raphael hanging on the wall of the parlor and blew up the art gallery belonging to the man who oversaw the collection. I don’t think there’s anything ordinary about what happened.”
“Point taken,” Isherwood said. “In fact, it sounds to me as if the only things you can trust in this whole wretched affair are the paintings themselves.”
“I hate to be the one to break this to you, Julian, but paintings can’t really talk. Besides, the collection is gone.”
“The paintings can’t talk, but their provenance can. Clearly, Augustus Rolfe took his collecting very seriously. Even if he acquired the paintings under less than perfect circumstances, he would have insisted on a provenance for each one of them. Provenance, after all, is everything.”