Twice Dead - Catherine Coulter [214]
“In California, of all places.”
“Eureka, by any chance?”
“Don’t know. He’s in a little town called Hemlock Bay, on the ocean. Don’t know where it is. Whoever’s paying him wants him close by where he is.”
“You’re good, LouLou. I don’t suppose you’ll tell me where you heard this?”
“You know better, Simon.” He drank the rest of his beer in one long pull, wiped his mouth gently on a napkin, then said, “Abe’s a mean sucker, Simon, unlike most artists. When you hook up with him, you take care, okay?”
“Yeah, I’ll be real careful. Any word at all on who our likely collectors are?”
LouLou fiddled with a cigarette he couldn’t light, even here in a bar. “Word is that it might be Olaf Jorgenson.”
This was a surprise, a big surprise, to Simon. He wouldn’t have put Olaf in the mix. “The richest Swede alive, huge in shipping. But I heard that he’s nearly blind, nearly dead, that his collecting days are over.”
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 died only 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