Charles ordered a lunch on his wonted scale of princely magnificence. Meanwhile we wandered, two and two, about the town and castle. I annexed Lady Belleisle, who is at least amusing. Charles drew me aside before starting. “Look here, Sey,” he said, “we must be very careful. This man, Polperro, is a chance acquaintance. There’s nothing an astute rogue can take one in over more easily than an Old Master. If the Rembrandt is genuine I ought to have it; if it really represents Maria Vanrenen, it’s a duty I owe to the boys to buy it. But I’ve been done twice lately, and I won’t be done a third time. We must go to work cautiously.”
“You are right,” I answered. “No more seers and curates!”
“If this man’s an impostor,” Charles went on—“and in spite of what he says about the National Gallery and so forth, we know nothing of him—the story he tells is just the sort of one such a fellow would trump up in a moment to deceive me. He could easily learn who I was—I’m a well-known figure; he knew I was in Brighton, and he may have been sitting on that glass seat on Sunday on purpose to entrap me.”
“He introduced your name,” I said, “and the moment he found out who I was he plunged into talk with me.”
“Yes,” Charles continued. “He may have learned about the portrait of Maria Vanrenen, which my grandmother always said was preserved at Gouda; and, indeed, I myself have often mentioned it, as you doubtless remember. If so, what more natural, say, for a rogue than to begin talking about the portrait in that innocent way to Amelia? If he wants a Rembrandt, I believe they can be turned out to order to any amount in Birmingham. The moral of all which is, it behoves us to be careful.”
“Right you are,” I answered; “and I am keeping my eye upon him.”
We drove back by another road, overshadowed by beech-trees in autumnal gold. It was a delightful excursion. Dr. Polperro’s heart was elated by lunch and the excellent dry Monopole. He talked amazingly. I never heard a man with a greater or more varied flow of anecdote. He had been everywhere and knew all about everybody. Amelia booked him at once for her “At Home” on Wednesday week, and he promised to introduce her to several artistic and literary celebrities.
That evening, however, about half-past seven, Charles and I strolled out together on the King’s Road for a blow before dinner. We dine at eight. The air was delicious. We passed a small new hotel, very smart and exclusive, with a big bow window. There, in evening dress, lights burning and blind up, sat our friend, Dr. Polperro, with a lady facing him, young, graceful, and pretty. A bottle of champagne stood open before him. He was helping himself plentifully to hot-house grapes, and full of good humour. It was clear he and the lady were occupied in the intense enjoyment of some capital joke; for they looked queerly at one another, and burst now and again into merry peals of laughter.
I drew back. So did Sir Charles. One idea passed at once through both our minds. I murmured, “Colonel Clay!” He answered, “and Madame Picardet!”
They were not in the least like the Reverend Richard and Mrs. Brabazon. But that clinched the matter. Nor did I see a sign of the aquiline nose of the Mexican Seer. Still, I had learnt by then to discount appearances. If these were indeed the famous sharper and his wife or accomplice, we must be very careful. We were forewarned this time. Supposing he had the audacity to try a third trick of the sort upon us we had him under our thumbs. Only, we must take steps to prevent his dexterously slipping through our fingers.
“He can wriggle like an eel,” said the Commissary at Nice. We both recalled those words, and laid our plans deep to prevent the man’s wriggling away from us on this third occasion.
“I tell you what it is, Sey,” my brother-in-law said, with impressive slowness. “This time we must deliberately lay ourselves out to be swindled. We must propose of our own accord to buy the picture, making him guarantee it in writing as a genuine Rembrandt, and taking care to tie him down by most stringent conditions. But we must seem at the same time to be unsuspicious and innocent as babes; we must swallow whole whatever lies he tells us; pay his price—nominally—by cheque for the portrait; and then, arrest him the moment the bargain is complete, with the proofs of his guilt then and there upon him. Of course, what he’ll try to do will be to vanish into thin air at once, as he did at Nice and Paris; but, this time, we’ll have the police in waiting and everything ready. We’ll avoid precipitancy, but we’ll avoid delay too. We must hold our hands off till he’s actually accepted and pocketed the money; and then, we must nab him instantly, and walk him off to the local Bow Street. That’s my plan of campaign. Meanwhile, we should appear all trustful innocence and confiding guilelessness.”
In pursuance of this well-laid scheme, we called next day on Dr. Polperro at his hotel, and were introduced to his wife, a dainty little woman, in whom we affected not to recognise that arch Madame Picardet or that simple White Heather. The Doctor talked charmingly (as usual) about art—what a well-informed rascal he was, to be sure!—and Sir Charles expressed some interest in the supposed Rembrandt. Our new friend was delighted; we could see by his well-suppressed eagerness of tone that he knew us at once for probable purchasers. He would run up to town next day, he said, and bring down the portrait. And in effect, when Charles and I took our wonted places in the Pullman next morning, on our way up to the half-yearly meeting of Cloetedorp Golcondas, there was our Doctor, leaning back in his arm-chair as if the car belonged to him. Charles gave me an expressive look. “Does it in style,” he whispered, “doesn’t he? Takes it out of my five thousand; or discounts the amount he means to chouse me of with his spurious Rembrandt.”
Arrived in town, we went to work at once. We set a private detective from Marvillier’s to watch our friend; and from him we learned that the so-called Doctor dropped in for a picture that day at a dealer’s in the West-end (I suppress the name, having a judicious fear of the law of libel ever before my eyes), a dealer who was known to be mixed up before then in several shady or disreputable transactions. Though, to be sure, my experience has been that picture dealers are—picture dealers. Horses rank first in my mind as begetters and producers of unscrupulous agents, but pictures run them a very good second. Anyhow, we found out that our distinguished art-critic picked up his Rembrandt at this dealer’s shop, and came down with it in his care the same night to Brighton.
In order not to act precipitately, and so ruin our plans, we induced Dr. Polperro (what a cleverly chosen name!) to bring the Rembrandt round to the Métropole for our inspection, and to leave it with us while we got the opinion of an expert from London.
The expert came down, and gave us a full report upon the alleged Old Master. In his judgment, it was not a Rembrandt at all, but a cunningly-painted and well-begrimed modern Dutch imitation. Moreover, he showed us by documentary evidence that the real portrait of Maria Vanrenen had, as a matter of fact, been brought to England five years before, and sold to Sir J. H. Tomlinson, the well-known connoisseur, for eight thousand pounds. Dr. Polperro’s picture was, therefore, at best either a replica by Rembrandt; or else, more probably, a copy by a pupil; or, most likely of all, a mere modern forgery.
We were thus well prepared to fasten our charge of criminal conspiracy upon the self-styled Doctor. But in order to make assurance still more certain, we threw out vague hints to him that the portrait of Maria Vanrenen might really be elsewhere, and even suggested in his hearing that it might not improbably have got into the hands of that omnivorous collector, Sir J. H. Tomlinson. But the vendor was proof against all such attempts to decry his goods. He had the effrontery to brush away the documentary evidence, and to declare that Sir J. H. Tomlinson (one of the most learned and astute picture-buyers in England) had been smartly imposed upon by a needy Dutch artist with a talent for forgery. The real Maria Vanrenen, he declared and swore, was the one he offered us. “Success has turned the man’s head,” Charles said to me, well pleased. “He thinks we will swallow any obvious lie he chooses to palm off upon us. But the bucket has come once too often to the well. This time we checkmate him.” It was a mixed metaphor, I admit;
