Hemlock Bay
Page 61
LouLou said, “Yeah, that’s the word out. Why buy a painting if you’re blind as a bat and can’t even see it? But, hey, that’s what I heard from my inside gal at the Met. She’s one of the curators, has an ear that soaks up everything. She’s been right before. I trust her information.”
“Olaf Jorgenson,” Simon said slowly, taking a pull on his Coors. “He’s got to be well past eighty now. Been collecting mainly European art for the past fifty years, medieval up through the nineteenth century. After World War Two, I heard he got his hands on a couple of private collections of stolen art from France and Italy. Far as I know, he’s never bought a piece of art legally in his life. The guy’s certifiable about his art, has all his paintings in climate-controlled vaults, and he’s the only one who’s got the key. I didn’t know he’d begun collecting modern painters, like Sarah Elliott. I never would have put him on my list.”
LouLou shrugged. “Like you said, Simon, the guy’s a nut. Maybe nuts crack different ways when they get up near the century mark. His son seems to be just as crazy, always out on his yacht, lives there most of the time. His name’s Ian—the old guy married a Scotswoman and that’s how he got his name. Anyway, the son now runs all the shipping business. From the damned yacht.”
Simon gave a very slight shake of his head to a very pretty woman seated at the bar who’d been staring at him for the past couple of minutes. He moved closer to LouLou to show that he was in very heavy conversation and not interested. “LouLou, how sure are you that it’s Olaf who bought the paintings?”
“Besides my gal at the Met, I went out of my way to get it verified. You know my little art world birdies that are always singing, Simon. I spread a little seed, and they sing louder and I heard three songs, all with the same words. One hundred percent? Nope, but it’s a start. Cost me a cool thousand bucks to get them to sing to me.”
“Okay, you done good, LouLou.” Simon handed him an envelope that contained five thousand dollars. LouLou didn’t count it, just slipped the fat envelope inside his cashmere jacket pocket. “Hey, you know what the name of Ian Jorgenson’s yacht is?”
Simon shook his head.
“Night Watch.”
Simon said slowly, “That’s the name of a painting by Rembrandt. That particular painting is hanging in the Rijksmuseum in Amsterdam. I saw it there a couple of years ago.”
LouLou cocked his head to one side, his hairpiece not moving a bit because it was expensive and well made, and gave Simon a cynical smile. “Who knows? Just maybe Night Watch is hanging in Ian’s stateroom, right over his bed. I’ve often wondered how many real paintings there are left in the museums and not beautifully executed fakes.”
“Actually, LouLou, I don’t want to know the answer to that question.”
“Since Sarah Elliott just died some seven years ago, all her materials—the paints, the brushes—still exist. You take a superb talent with an inherent bent toward her sort of technique and visualization, and what you get is so close to the real thing, most people wouldn’t even care if you told them.”
“I hate that.”
“I do, too,” LouLou said. “I need another beer.”
Simon ordered them another round, ate a couple of peanuts out of the bowl on their table, and said, “Remember that forger Eric Hebborn, who wrote that book telling would-be forgers exactly how to do it—what inks, papers, pens, colors, signatures, all of it? Then he up and dies in ninety-six. The cops said it was under mysterious circumstances. I heard it was a private collector who killed Hebborn because a dealer friend had sold him an original Rubens that turned out to be a fake that Hebborn himself had done. Supposedly the dealer died shortly thereafter in a car accident.”
LouLou said, “Yeah, I met old Eric back in the early eighties. Smart as a whip, that guy, and so talented it made you cry. You wondering if it was Olaf Jorgenson who popped him? Hey, Simon, there’s a whole bunch of collectors who’d cut off hands to have a certain medal or stamp or train or painting. They’ve got to have it or life loses its meaning for them. Look, Simon, when you get down to it, they’re the people who keep us in business.”
“I wonder if Olaf ordered all eight paintings. I wonder what he’s paying for them.”
“Huge bucks, my man, huge, count on it. All eight Sarah Elliotts? Don’t know. I haven’t heard any other names floated around. Simon, I heard those eight paintings are owned privately by a member of the Elliott family?”
“Olaf Jorgenson,” Simon said slowly, taking a pull on his Coors. “He’s got to be well past eighty now. Been collecting mainly European art for the past fifty years, medieval up through the nineteenth century. After World War Two, I heard he got his hands on a couple of private collections of stolen art from France and Italy. Far as I know, he’s never bought a piece of art legally in his life. The guy’s certifiable about his art, has all his paintings in climate-controlled vaults, and he’s the only one who’s got the key. I didn’t know he’d begun collecting modern painters, like Sarah Elliott. I never would have put him on my list.”
LouLou shrugged. “Like you said, Simon, the guy’s a nut. Maybe nuts crack different ways when they get up near the century mark. His son seems to be just as crazy, always out on his yacht, lives there most of the time. His name’s Ian—the old guy married a Scotswoman and that’s how he got his name. Anyway, the son now runs all the shipping business. From the damned yacht.”
Simon gave a very slight shake of his head to a very pretty woman seated at the bar who’d been staring at him for the past couple of minutes. He moved closer to LouLou to show that he was in very heavy conversation and not interested. “LouLou, how sure are you that it’s Olaf who bought the paintings?”
“Besides my gal at the Met, I went out of my way to get it verified. You know my little art world birdies that are always singing, Simon. I spread a little seed, and they sing louder and I heard three songs, all with the same words. One hundred percent? Nope, but it’s a start. Cost me a cool thousand bucks to get them to sing to me.”
“Okay, you done good, LouLou.” Simon handed him an envelope that contained five thousand dollars. LouLou didn’t count it, just slipped the fat envelope inside his cashmere jacket pocket. “Hey, you know what the name of Ian Jorgenson’s yacht is?”
Simon shook his head.
“Night Watch.”
Simon said slowly, “That’s the name of a painting by Rembrandt. That particular painting is hanging in the Rijksmuseum in Amsterdam. I saw it there a couple of years ago.”
LouLou cocked his head to one side, his hairpiece not moving a bit because it was expensive and well made, and gave Simon a cynical smile. “Who knows? Just maybe Night Watch is hanging in Ian’s stateroom, right over his bed. I’ve often wondered how many real paintings there are left in the museums and not beautifully executed fakes.”
“Actually, LouLou, I don’t want to know the answer to that question.”
“Since Sarah Elliott just died some seven years ago, all her materials—the paints, the brushes—still exist. You take a superb talent with an inherent bent toward her sort of technique and visualization, and what you get is so close to the real thing, most people wouldn’t even care if you told them.”
“I hate that.”
“I do, too,” LouLou said. “I need another beer.”
Simon ordered them another round, ate a couple of peanuts out of the bowl on their table, and said, “Remember that forger Eric Hebborn, who wrote that book telling would-be forgers exactly how to do it—what inks, papers, pens, colors, signatures, all of it? Then he up and dies in ninety-six. The cops said it was under mysterious circumstances. I heard it was a private collector who killed Hebborn because a dealer friend had sold him an original Rubens that turned out to be a fake that Hebborn himself had done. Supposedly the dealer died shortly thereafter in a car accident.”
LouLou said, “Yeah, I met old Eric back in the early eighties. Smart as a whip, that guy, and so talented it made you cry. You wondering if it was Olaf Jorgenson who popped him? Hey, Simon, there’s a whole bunch of collectors who’d cut off hands to have a certain medal or stamp or train or painting. They’ve got to have it or life loses its meaning for them. Look, Simon, when you get down to it, they’re the people who keep us in business.”
“I wonder if Olaf ordered all eight paintings. I wonder what he’s paying for them.”
“Huge bucks, my man, huge, count on it. All eight Sarah Elliotts? Don’t know. I haven’t heard any other names floated around. Simon, I heard those eight paintings are owned privately by a member of the Elliott family?”
