13, 1981, from the Musée de Bagnols-sur-Cèze, Gard, France. Estimated current value: unknown.
More keystrokes, another painting, another story of loss:
Portrait of a Woman, oil on canvas, Gustav Klimt (1862–1918), 32.6 x 21.6 inches, missing since February 18, 1997, from the Galleria Ricci Oddi, Piacenza, Italy. Estimated current value: $4 million.
Gabriel placed the Renoir and the Klimt next to the Parmigianino, snapped a photograph with his mobile phone, and quickly forwarded it to the palazzo. General Ferrari rang him back thirty seconds later. Help was on the way.
Gabriel carried the three paintings downstairs and propped them on one of the couches in the great room. Parmigianino, Renoir, Klimt … Three missing paintings by three prominent artists, all concealed beneath copies of lesser works. Even so, the copies had been of extremely high quality. They were the work of a master forger, thought Gabriel. Perhaps even a restorer. But why go to the trouble of commissioning a copy in order to conceal a stolen work? Clearly, Jack Bradshaw was connected to a sophisticated network that dealt in stolen and smuggled art. Where there were three, thought Gabriel, looking at the paintings, there would be more. Many more.
He picked up one of the photographs of a youthful Jack Bradshaw. His curriculum vitae read like something from a lost age. Educated at Eton and Oxford, fluent in Arabic and Persian, he had been sent into the world to do the bidding of a once-mighty empire that had fallen into terminal decline. Perhaps he had been an ordinary diplomat, an issuer of visas, a stamper of passports, a writer of thoughtful cables that no one bothered to read. Or perhaps he had been something else entirely. Gabriel knew a man in London who could put flesh on the bones of Jack Bradshaw’s dubiously thin résumé. The truth would not come without a price. In the espionage business, truth rarely did.
Gabriel set aside the photograph and used his mobile phone to book a seat on the morning flight to Heathrow. Then he picked up the slip of paper on which he’d written the number from the dialing directory of Bradshaw’s phone.
6215845 …
This is Father Marco. How can I help you?
He dialed the number again now, but this time it rang unanswered. Then, reluctantly, he forwarded it securely to the Operations Desk at King Saul Boulevard and asked for a routine check. Ten minutes later came the reply: 6215845 was an unpublished number located in the rectory of the Church of San Giovanni Evangelista in Brienno, which was located a few kilometers up the lakeshore.
Gabriel picked up the slip of paper that had been at the top of Jack Bradshaw’s telephone message pad on the night of his murder. Tilting it toward the lamp, he studied the indentations that had been left by Bradshaw’s fountain pen. Then he removed a pencil from the top drawer of the desk and rubbed the tip gently across the surface until a pattern of lines emerged. Most of it was an impenetrable mess: the numeral 4, the numeral 8, the letters C and V and O. At the bottom of the page, however, a single word was clearly visible.
Samir …
THE ROAD WAS CALLED PARADISE, but it was a paradise lost: tattered blocks of redbrick council flats, a patch of trampled grass, a childless playground where a merry-go-round rotated slowly in the wind. Gabriel lingered there only long enough to make sure he was not being followed. He pulled his coat collar around his ears and shivered. Spring had not yet arrived in London.
Beyond the playground a dirty passageway led to Clapham Road. Gabriel turned to the left and walked through the glare of the oncoming traffic to the Stockwell Tube station. Another turn brought him to a quiet street with a terrace of sooty postwar houses. Number 8 had a crooked black fence of wrought iron and a tiny cement garden with no decoration other than a royal blue recycling bin. Gabriel lifted the lid, saw the bin was empty, and climbed the three steps to the front door. A sign stated that solicitations of any kind were unwelcome. Ignoring it, he placed his thumb atop the bell push—two short bursts, a longer third, just as he had been told. “Mr. Baker,” said the man who appeared in the doorway. “So good of you to come. I’m Davies. I’m here to look after you.”
Gabriel entered the house and waited for the door to close before turning to face the man who had admitted him. He had soft pale hair and the guiltless face of a country parson. His name was not Davies. It was Nigel Whitcombe.
“Why all the cloak-and-dagger stuff?” asked Gabriel. “I’m not defecting. I just need a word with the boss.”
“The Intelligence Service frowns on the use of real names in safe houses. Davies is my work name.”
“Catchy,” said Gabriel.
“I chose it myself. I was always fond of the Kinks.”
“Who’s Baker?”
“You’re Baker,” replied Whitcombe without a trace of irony in his voice.
Gabriel entered the small sitting room. It was furnished with all the charm of an airport departure lounge.
“You couldn’t find a safe house in Mayfair or Chelsea?”
“All the West End properties were taken. Besides, this one’s closer to Vauxhall Cross.”
Vauxhall Cross was the headquarters of Britain’s Secret Intelligence Service, also known as MI6. There was a time when the service operated from a dingy building in Broadway and its director-general was known only as “C.” Now the spies worked in one of London’s flashiest landmarks, and their boss’s name appeared regularly in the press. Gabriel liked the old ways better. In matters of intelligence, as in art, he was a traditionalist by nature.
“Does the Intelligence Service allow coffee in safe houses these days?” he asked.
“Not real coffee,” replied Whitcombe, smiling. “But there might be a jar of Nescafé in the pantry.”
Gabriel shrugged, as if to say one could certainly do worse than Nescafé, and followed Whitcombe into the galley kitchen. It looked as though it belonged to a man who was recently separated and hoping for a quick reconciliation. There was indeed a container of Nescafé, along with a tin of Twinings that looked as though it had been there when Edward Heath was prime minister. Whitcombe filled the electric kettle with water while Gabriel searched the cabinets for a mug. There were two, one with the logo of the London Olympic Games, the other with the face of the Queen. When Gabriel chose the mug with the Queen, Whitcombe smiled.
“I never realized you were an admirer of Her Majesty.”
“She has good taste in art.”
“She can afford to.”
Whitcombe offered this assessment not as a criticism but merely an observation of fact. He was like that: careful, shrewd, opaque as a concrete wall. He had started his career at MI5, where he had cut his operational teeth working with Gabriel against a Russian oligarch and arms dealer named Ivan Kharkov. Soon after, he became the primary aide-de-camp and runner of off-the-record errands for Graham Seymour, MI5’s deputy director-general.
