23 LISBON
24 MUNICH ZURICH
25 ZURICH
26 LYONS
27 VIENNA
28 VIENNA
29 ZURICH
30 ZURICH
31 BARGEN, SWITZERLAND
PART THREE
32 NIDWALDEN, SWITZERLAND
33 LONDON
34 ZURICH
35 CORSICA
36 VENICE
37 VENICE
38 VENICE
39 VENICE
40 ZURICH
41 MALLES VENOSTA, ITALY
42 MALLES VENOSTA, ITALY
43 MALLES VENOSTA, ITALY
44 NIDWALDEN, SWITZERLAND
45 NIDWALDEN, SWITZERLAND
46 NIDWALDEN, SWITZERLAND
47 NIDWALDEN, SWITZERLAND
PART FOUR
THREE MONTHS LATER
48 PORT NAVAS, CORNWALL
49 CORSICA
50 COSTA DE PRATA, PORTUGAL
51 NIDWALDEN, SWITZERLAND
AFTERWORD
ACKNOWLEDGMENTS
PROLOGUE
Switzerland 1975
MARGUERITE ROLFEwas digging in her garden because of the secrets she’d found hidden in her husband’s study. It was late to be working in the garden, well past midnight by now. The spring thaw had left the earth soft and moist, and her spade split the soil with little effort, allowing her to progress with minimal noise. For this she was grateful. Her husband and daughter were asleep in the villa, and she didn’t want to wake them.
Why couldn’t it have been something simple, like love letters from another woman? There would have been a good row, Marguerite would have confessed her own affair. Lovers would have been relinquished, and soon their home would return to normal. But she hadn’t found love letters—she’d found something much worse.
For a moment she blamed herself. If she hadn’t been searching his study, she never would have found the photographs. She could have spent the rest of her life in blissful oblivion, believing her husband was the man he appeared to be. But now she knew. Her husband was a monster, his life a lie—a complete and meticulously maintained lie. Therefore she too was a lie.
Marguerite Rolfe concentrated on her work, making slow and steady progress. After an hour it was done. A good hole, she decided: about six feet in length and two feet across. Six inches below the surface she had encountered a dense layer of clay. As a result it was a bit shallower than she would have preferred. It didn’t matter. She knew it wasn’t permanent.
She picked up the gun. It was her husband’s favorite weapon, a beautiful shotgun, handcrafted for him by a master gunsmith in Milan. He would never be able to use it again. This pleased her. She thought of Anna. Please don’t wake up, Anna. Sleep, my love.
Then she stepped into the ditch, lay down on her back, placed the end of the barrel in her mouth, pulled the trigger.
THEgirl was awakened by music. She did not recognize the piece and wondered how it had found its way into her head. It lingered a moment, a descending series of notes, a serene diminishment. She reached out, eyes still closed, and searched the folds of the bedding until her palm found the body which lay a few inches away. Her fingers slipped over the narrow waist, up the slender, elegant neck, toward the graceful curved features of the scroll. Last night they had quarreled. Now it was time to set aside their differences and make peace.
She eased from the bed, pulled on a dressing gown. Five hours of practice stretched before her. Thirteen years old, a sun-drenched June morning, and this was how she would spend her day—and every other day that summer.
Stretching the muscles of her neck, she gazed out the window at the flowering garden. It was a melee of spring color. Beyond the garden rose the steep slope of the valley wall. High above it all loomed the snowcapped mountain peaks, glittering in the bright summer sun. She pressed her violin to her neck and prepared to play the first étude.
Then she noticed something in the garden: a mound of dirt, a long shallow hole. From her vantage point in the window she could see a swath of white fabric stretched across the bottom and pale hands wrapped around the barrel of a gun.
“Mama!” she screamed, and the violin crashed to the floor.
SHEthrew open the door to her father’s study without knocking. She had expected to find him at his desk, hunched over his ledgers, but instead he was perched on the edge of a high-backed wing chair, next to the fireplace. A tiny, elfin figure, he wore his habitual blue blazer and striped tie. He was not alone. The second man wore sunglasses in spite of the masculine gloom of the study.
“What on earth do you think you’re doing?” snapped her father. “How many times have I asked you to respect my closed door? Can’t you see I’m in the middle of an important discussion?”
“But Papa—”
“And put on some proper clothing! Ten o’clock in the morning and you’re still wearing only a housecoat.”
“Papa, I must—”
“It can wait until I’ve finished.”
“No, it can’t, Papa!”
She screamed this so loudly the man in sunglasses flinched.
“I apologize, Otto, but I’m afraid my daughter’s manners have suffered from spending too many hours alone with her instrument. Will you excuse me? I won’t be but a moment.”
ANNARolfe’s father handled important documents with care, and the note he removed from the grave was no exception. When he finished reading it, he looked up sharply, his gaze flickering from side to side, as if he feared someone was reading over his shoulder. This Anna saw from her bedroom window.
As he turned and started back toward the villa, he glanced up at the window and his eyes met Anna’s. He paused, holding her gaze for a moment. It was not a gaze of sympathy. Or remorse. It was a gaze of suspicion.
She turned from the window. The Stradivarius lay where she had dropped it. She picked it up. Downstairs she heard her father calmly telling his guest of his wife’s suicide. She lifted the violin to her neck, laid the bow upon the strings, closed her eyes. G minor. Various patterns of ascent and descent. Arpeggios. Broken thirds.
“HOWcan she play at a time like this?”
“I’m afraid she knows little else.”
Late afternoon. The two men alone in the study again. The police had completed their initial investigation, and the body had been removed. The note lay on the drop-leaf table between them.
“A doctor could give her a sedative.”
“She doesn’t want a doctor. I’m afraid she has her mother’s temper and her mother’s stubborn nature.”
“Did the police ask whether there was a note?”
“I see no need to involve the police in the personal matters of this family, especially when it concerns the suicide of my wife.”
“And your daughter?”
“What about my daughter?”
“She was watching you from the window.”
“My daughter is my business. I’ll deal with her as I see fit.”
“I certainly hope so. But do me one small favor.”
“What’s that, Otto?”
His pale hand patted the top of the table until it came to rest on the note.
“Burn this damned thing, along with everything else. Make sure no one else stumbles on any unpleasant reminders of the past. This is Switzerland. There is no past.”
PART ONE
The Present
1
LONDON ZURICH
THE SOMETIMES-SOLVENT firm of Isherwood Fine Arts had once occupied a piece of fine commercial property on stylish New Bond Street in Mayfair. Then came London’s retail renaissance, and New Bond Street—or New Bondstrasse, as it was derisively known in the trade—was overrun by the likes of Tiffany and Gucci and Versace and Mikimoto. Julian Isherwood and other dealers specializing in museum-quality Old Masters were driven into St. Jamesian exile—the Bond Street Diaspora, as Isherwood was fond of calling it. He eventually settled in a sagging Victorian warehouse in a quiet quadrang
le known as Mason’s Yard, next to the London offices of a minor Greek shipping company and a pub that catered to pretty office girls who rode motor scooters.
Among the incestuous, backbiting villagers of St. James’s, Isherwood Fine Arts was considered rather good theater. Isherwood Fine Arts had drama and tension, comedy and tragedy, stunning highs and seemingly bottomless lows. This was, in large measure, a consequence of its owner’s personality. He was cursed with a near-fatal flaw for an art dealer: he liked to possess art more than to sell it. Each time a painting left the wall of his exquisite exposition room, Isherwood fell into a raging blue funk. As a result of this affliction he was now burdened by an apocalyptic inventory of what is affectionately known in the trade as dead stock—paintings for which no buyer would ever pay a fair price. Unsellable paintings. Burned, as they liked to say in Duke Street. Toast. If Isherwood had been asked to explain this seemingly inexplicable failure of business acumen, he might have raised the issue of his father, though he made a point of never—And I mean never, petal—talking about his father.
He was up now. Afloat. Flush with funds. A million pounds, to be precise, tucked nicely into his account at Barclays Bank, thanks to a Venetian painter named Francesco Vecellio and the morose-looking art restorer now making his way across the wet bricks of Mason’s Yard.
Isherwood pulled on a macintosh. His English scale and devoutly English wardrobe concealed the fact that he was not—at least not technically speaking—English at all. English by nationality and passport, yes, but German by birth, French by upbringing, and Jewish by religion. Few people knew that his last name was merely a phonetic perversion of its original. Fewer still knew that he’d done favors over the years for a certain bullet-headed gentleman from a certain clandestine agency based in Tel Aviv. Rudolf Heller was the name the gentleman used when calling on Isherwood at the gallery. It was a borrowed name, borrowed like the gentleman’s blue suit and gentleman’s manners. His real name was Ari Shamron.
“One makes choices in life, doesn’t one?” Shamron had said at the time of Isherwood’s recruitment. “One doesn’t betray one’s adopted country, one’s college, or one’s regiment, but one looks out for one’s flesh and blood, one’s tribe, lest another Austrian madman, or the Butcher of Baghdad, try to turn us all into soap again, eh, Julian?”
“Hear, hear, Herr Heller.”
“We won’t pay you a pound. Your name will never appear in our files. You’ll do favors for me from time to time. Very specific favors for a very special agent.”
“Super. Marvelous. Where do I sign up? What sort of favors? Nothing shady, I take it.”
“Say I need to send him to Prague. Or Oslo. Or Berlin, God forbid. I’d like you to find legitimate work for him there. A restoration. An authentication. A consultation. Something appropriate for the amount of time he’ll be staying.”
“Not a problem, Herr Heller. By the way, does this agent of yours have a name?”
The agent had many names, thought Isherwood now, watching the man make his way across the quadrangle. His real name was Gabriel Allon, and the nature of his secret work for Shamron was betrayed by subtle things he did now. The way he glanced over his shoulder as he slipped through the passageway from Duke Street. The way that, in spite of a steady rain, he made not one but two complete circuits of the old yard before approaching the gallery’s secure door and ringing Isherwood’s bell. Poor Gabriel. One of the three or four best in the world at what he does, but he can’t walk a straight line. And why not? After what happened to his wife and child in Vienna…no man would be the same after that.
He was unexpectedly average in height, and his smooth gait seemed to propel him effortlessly across Duke Street to Green’s Restaurant, where Isherwood had booked a table for lunch. As they sat down, Gabriel’s eyes flickered about the room like searchlights. They were almond-shaped, unnaturally green, and very quick. The cheekbones were broad and square, the lips dark, and the sharp-edged nose looked as though it had been carved from wood. It was a timeless face, thought Isherwood. It could be a face on the cover of a glossy men’s fashion magazine or a face from a dour Rembrandt portrait. It was also a face of many possible origins. It had been a superb professional asset.
Isherwood ordered stuffed sole and Sancerre, Gabriel black tea and a bowl of consommé. He reminded Isherwood of an Orthodox hermit who subsisted on rancid feta and concrete flatbread, only Gabriel lived in a pleasant cottage on a remote tidal creek in Cornwall instead of a monastery. Isherwood had never seen him eat a rich meal, had never seen him smile or admire an attractive pair of hips. He never lusted after material objects. He had only two toys, an old MG motorcar and a wooden ketch, both of which he had restored himself. He listened to his opera on a dreadful little portable CD player stained with paint and varnish. He spent money only on his supplies. He had more high-tech toys in his little Cornish studio than there were in the conservation department of the Tate.
How little Gabriel had changed in the twenty-five years since they had first met. A few more wrinkles around those watchful eyes, a few more pounds on his spare frame. He’d been little more than a boy that day, quiet as a church mouse. Even then, his hair was streaked with gray, the stain of a boy who’d done a man’s job. “Julian Isherwood, meet Gabriel,” Shamron had said. “Gabriel is a man of enormous talent, I assure you.”
Enormous talent, indeed, but there had been gaps in the young man’s provenance—like the missing three years between his graduation from the prestigious Betsal’el School of Art in Jerusalem and his apprenticeship in Venice with the master restorer Umberto Conti. “Gabriel spent time traveling in Europe,” Shamron had said curtly. That was the last time the subject of Gabriel’s European adventures was ever raised. Julian Isherwood didn’t talk about what had happened to his father, and Gabriel didn’t talk about the things he had done for Ari Shamron, alias Rudolf Heller, from approximately 1972 to 1975. Secretly, Isherwood referred to them as the Lost Years.
Isherwood reached into the breast pocket of his jacket and withdrew a check. “Your share from the sale of the Vecellio. One hundred thousand pounds.”
Gabriel scooped up the check and pocketed it with a smooth movement of his hand. He had magician’s hands and a magician’s sense of misdirection. The check was there, the check was gone.
“How much was your share?”
“I’ll tell you, but you must first promise me that you won’t divulge the figure to any of these vultures,” Isherwood said, sweeping his hand across the dining room of Green’s.
Gabriel said nothing, which Isherwood interpreted as a blood oath of everlasting silence.
“One million.”
“Dollars?”
“Pounds, petal. Pounds.”
“Who bought it?”
“A very nice gallery in the American Midwest. Tastefully displayed, I assure you. Can you imagine? I picked it up for sixteen thousand from a dusty sale room in Hull on the hunch—the wild bloody hunch—that it was the missing altarpiece from the church of San Salvatore in Venice. And I was right! A coup like this comes along once in a career, twice if you’re lucky. Cheers.”
They toasted each other, stemmed wineglass to bone-china teacup. Just then a tubby man with a pink shirt and pink cheeks to match presented himself breathlessly at their table.
“Julie!” he sang.
“Hullo, Oliver.”
“Word on Duke Street is you picked up a cool million for your Vecellio.”
“Where the bloody hell did you hear that?”
“There are no secrets down here, love. Just tell me if it’s the truth or a dirty, seditious lie.” He turned to Gabriel, as if noticing him for the first time, and thrust out a fleshy paw with a gold-embossed business card wedged between the thick fingers. “Oliver Dimbleby. Dimbleby Fine Arts.”
Gabriel took the card silently.
“Why don’t you join us for a drink, Oliver?” said Isherwood.
Beneath the table Gabriel put his foot on Isherwood’s toe a
nd pressed hard.
“Can’t now, love. That leggy creature in the booth over there has promised to whisper filth into my ear if I buy her another glass of champagne.”
“Thank God!” blurted Isherwood through clenched teeth.
Oliver Dimbleby waddled off. Gabriel released the pressure on Isherwood’s foot.
“So much for your secrets.”
“Vultures,” Isherwood repeated. “I’m up now, but the moment I stumble they’ll be hovering again, waiting for me to die so they can pick over the bones.”
“Maybe this time you should watch your money a little more carefully.”
“I’m afraid I’m a hopeless case. In fact—”
“Oh, God.”
“—I’m traveling to Amsterdam to have a look at a painting next week. It’s the centerpiece of a triptych, classified as artist unknown, but I have another one of my hunches. I think it may have come from the workshop of Rogier van der Weyden. In fact, I may be willing to bet a great deal of money on it.”
“Van der Weydens are notoriously difficult to authenticate. There are only a handful of works firmly attributed to him, and he never signed or dated any of them.”
“If it came from his workshop, his fingerprints will be on it. And if there’s anyone who can find them, it’s you.”
“I’ll be happy to take a look at it for you.”
“Are you working on anything now?”
“I just finished a Modigliani.”
“I have a job for you.”
“What kind of job?”