be silently supporting her,’ Matt justified.
‘We’ll be fleshing out the audience,’ Otter continued.
‘We’ll sit at the back and sneak out before the lights come up,’ Matt concluded.
Only Fen’s lecture was of course conducted not in an auditorium but in the sculpture hall, so Matt and Otter found pillars to hide behind.
‘My God!’ Otter exclaimed. Matt, though, was speechless.
There was Fen, sitting on the lap of a large stone man whilst a stone woman pressed her back against his, her head thrown back, one arm extended down with her hand firm over her pubis, the other arm stretching above, her fingers enmeshed in the male’s hair. Fen sat very still, having positioned herself so that the male form seemed to be nuzzling her neck, his right hand masked from view by her body but apparently cupping his cock. Or wielding it. Or touching Fen’s bottom. Or delving right in. The sight was quite something. Quite the saucy threesome. Matt’s jaw dropped. Otter giggled involuntarily. James felt his trip to London was already proving well worthwhile though he had yet to visit Calthrop’s. Judith St John arrived late. She coughed when Fen was about to speak. Fen swiftly told herself that perhaps Judith simply had the beginnings of a cold. Judith St John had no interest in Julius Fetherstone, whom she considered a second-rate Rodin. But she was interested to hear just what this Fen McCabe had to say. Bloody double distinction from the Courtauld Institute. She herself might only have one distinction but she’d graduated five years prior to Fen McCabe. Hardly second-rate. Standards had been much higher then. And the true distinction was that she was deputy director of Trust Art. And look at Matt Holden, all mesmerized. Oh for God’s sake.
‘Julius Fetherstone,’ Fen started, assessing that Judith’s cough had subsided and that the audience of around twenty was all above the age of consent, before stretching her arm above her, stroking the male’s cheek before placing her hand over that of the female, ‘was obsessed with sex.’
Fen slid from the lap of the sculpture and, with her hand on the male’s hand which, it transpired, was indeed lolling over his cock, she ran her fingertips up his arm while she continued. ‘Fetherstone seemed to delight in the paradox of capturing in stone, or bronze, and in a frozen moment, all the heat, the moisture, the movement and, most of all, the internal sensation of the sex act.’ She brushed the cheek of the man with the back of her hand and then rested her head gently on his shoulder, draping her arm down over his chest. The women in the audience wanted to be where Fen was, wanting to touch and clasp and grapple with the awesome sculpture. Many of the men in the audience, however, just wanted to touch Fen. Apart from Otter who was transfixed by the male sculpture. And by a rather athletic-looking tourist a few yards away.
‘This work is called Hunger,’ Fen said, standing back from it though it meant her all but pressing herself against two young women listening. She gazed at the stone and then faced her audience. She made eye contact with all of them, with Otter and Matt and James and Judith. But she did not glance away, or give a blink of discomfort or recognition. Fen McCabe, art historian, was rather different from Fen McCabe, archivist. Or was this merely the spell of Fetherstone’s works? ‘It’s called Hunger,’ she repeated, standing much closer to her audience than to the sculpture, ‘but the couple themselves seem quite sated, don’t you think?’ The audience bar James was staring at the sculpture. ‘Don’t you think?’ It was a question. James wanted to answer but could not establish eye contact and didn’t really want to raise his hand. Anyway, the lecturer was staring directly, almost at point-blank range, at the two young women near to her. ‘Don’t you think?’
‘Definitely,’ one whispered. The other could only nod. They were both flushed. Not from humiliation or embarrassment. But from the effect the mass of copulatory stone had on them.
‘Fetherstone worked on the theme of sexual abandon from 1889. His great treatise – titled Abandon – now exists in four supreme bronzes. Though the whereabouts of the marble Abandon – staggering even in the few photos we have of it – remains a mystery. Just look at them,’ Fen implored, turning back to the sculpture, ‘just look at them.’ She gave her audience a tantalizing few seconds of silence. ‘Now, this portrait bust of Jacques Lemond,’ she said, moving to a plinth nearby, ‘is not just conventional in conception, it was staid and boring even for the time in which it was executed.’ Fen McCabe had cast the spell and then broken it. The audience had to follow her dutifully to another work, a rather uninspiring, if well executed, head and shoulders. But Fen was manipulating her audience. Her talk ended ten minutes later, having utilized a cross-reference with Maillol and a look at the two oil sketches by Fetherstone (which James was most pleased to deduce were inferior to his in execution and subject matter). She’d answered the obligatory questions (having anticipated, by the look of her audience, what they were to be) and then she’d left the gallery. Briskly. Perhaps to have a sandwich or something. Buy an Evening Standard. Cosmo, maybe. She knew well what would be going on in the sculpture hall. Most of the audience would remain. She’d observed their reaction to her lecture, to Hunger, to sculpture, on several occasions. They’d potter about half glancing at other works. Some would linger at Rodin’s The Kiss. But all would gravitate back to Hunger, however long it took. To circumnavigate. For a deeper look. To feed their hunger.
Judith had left noisily midway through the Q&A. Matt left the gallery unseen, leaving Otter to chat up the athletic young tourist. Matt’s semi hard-on disconcerted him.
It’s not just the look of her. Not the sculptures, for Christ’s sake. I think it’s that she’s so damned passionate. I don’t know!
James took a taxi to New Bond Street. There was a stirring in his trousers too. But he rationalized that he was turned on by the thought of the money his own Fetherstones might generate. Or by art, of course. Not by F. McCabe. No no no. He peered into his rucksack. Adam and Eve were still at it. Again. Leave them to it. Recall the content of the lecture so he was well armed to rebuff any bluff from the auctioneers. What did she say? That F. McCabe? She called him Julius. What does F stand for? Fiona? Frederika? Frederika probably. Freddie to her friends. Something like that. What had she spoken of? James couldn’t remember. He chastised his age as the culprit. But how come he could remember everything about her? Down to her having just the one dimple when she smiled which increased to two when she laughed.
Whilst James sat on a rather hard but aesthetically fine mahogany bench outside the Nineteenth Century European department, he wondered if the higher up you were at Calthrop’s was directly proportionate to the number of hyphens in your surname. And whether the number of hyphens to the surname might equate with the number of noughts such an expert might achieve on the sale of works. And how long they were entitled to keep a visitor waiting. Ten minutes and counting. He concentrated hard on two seascapes and thought how he’d really much rather have the Fetherstone oil sketches on his wall than those. Why was he selling them then? Money? Yes. But not because he was greedy. Because he needed to.
‘Mr Caulfield? Margot Fitzpatrick-Montague-Laine – good afternoon,’ an immaculate woman with a warm smile and affably outstretched hand, who looked too ordinary to have hyphens in her name and too young to hold a job of such stature, greeted James and ushered him through to her office, her eyes wide and expectant at the sight of his rucksack. ‘I think it most honest that my colleagues in Nineteenth Century British passed you to me,’ she said. ‘I mean, Fetherstone was British by birth – but he is so quintessentially European.’ She looked at James earnestly. ‘Wouldn’t you agree?’
‘Quintessentially,’ James responded, stressing a different part of the word to imply it was a conclusion he had himself made already, whilst racking his brains to recall anything F. McCabe had said along those lines in her lecture. He couldn’t remember if she had. She’d talked about moisture. And sex. And carnal delirium. And this Nineteenth
