Manof Chpt15

Chapter 15

Dr. Raymond Biot's place of business was right in front of them.
Once inside, they heard humming. Bruce looked up to see a corpulent older man in a white coat busily cleaning a painting with a soft cloth.

The man looked over his glasses and smiled broadly.

"Ah, Mademoiselle. You have arrived and on time." His English was very good. Bruce extended his hand. "I am Bruce Kellner, from New York"

Dr. Biot rubbed his oily hand on his coat. "Ah, M Kellner, the international art investigator. You will excuse my overworked hand," he said. "I am so happy to meet you."

"Likewise," Bruce smiled. "I have followed your career with some interest," he added. "I have read some of your papers on restoration."

"Ah, you flatter an old man."

"Not at all. I read your papers with great interest."

"Well," said M. Biot, I must tell you that I know your work very well. I first heard of you years ago when you found the missing Cezanne. Later I read of your discovery of a Rembrandt forgery at the Metropolitan and just last week I heard of the exceptional work you did in recovering the original portrait of Gertrude Stein by M Picasso."

"News travels fast," Bruce replied.

"Yes," added Biot. "I was at a reception with Picasso at La Californie. He told me about it himself. It is interesting that we should meet now, here in my studio. Surely you are not here to buy a painting. La Contesse did not tell me you would be with her. She only said a friend wanted to meet me. To what do I owe this honor?"

Bruce edged closer to the older man.

"This is rather delicate and I'm not certain how you can help me."

They sat facing each other. Marie Claude interjected.

"Monsieur Biot, I brought Mr. Kellner here today to tell you that the da Vinci that hung in our Chateau is missing. It seems to have disappeared."

Biot's eyes widened. Through a frown he said, "But so few people knew it even existed. Over the years it was just another picture on a wall. It is hardly a remarkable drawing but important since it was said to have been done by the master himself, centuries ago."
He turned to Marie Claude.

It was only when I was summoned to Hautefort to discuss cleaning some paintings that your brother showed it to me. I am certain that there are paintings at Hautefort that are worth more than the little da Vinci drawing. For example, the Caravaggio or the Foujitas. I have a weakness for Foujita. He was quite the rage when I was a young man. Do you know of his work?"

"I certainly do. I've seen a number of his works in many galleries and museums. He was a Paris based Japanese impressionist; very popular in the twenties. But that is not the point. The value of a painting is often decided by the person who wants it. In this case, someone wanted the da Vinci."

"Touché" Biot said in agreement. "I have always found it interesting how one man craves a certain artist while another does not. On the other hand, some people want what's rare and the drawing you have lost mademoiselle was rather unique, if not overly artistic. It was part of an idea by one of the world's most forward thinking men. Imagine going through life with an obsession for man to be able to fly."

"Yes. He was ahead of his time".

"So, how can I help you?'

Bruce sat forward and looked directly into the older man's eyes. "I would like you to ask around in your circle here in France. Perhaps you can suggest that you know that the picture is missing and are interested in it. Someone may know someone who knows something. You might be asked to assess it for someone or …"

Biot interrupted. "Or offer to buy it. Value doesn't always stem from beauty. I personally never dreamed of owning a da Vinci. But I don't think there is much chance that I can be of help. I would think that the drawing has been taken from the country, possibly back to Italy. Some people would argue that Italian art should stay in Italy, especially something done by the great da Vinci. No, I don't think I can help you, but you never know. By the way, how many people know it was stolen?"

Marie-Claude spoke up. "My brother, the inspector of police in Montignac, Mr. Drollet, Marcel, my family's trusted friend and aid to my brother, Mr Kellner and now you."

The old men pursed his lips. "Yes, and now me. Well, I can promise nothing but I shall spread the word that it is missing and see what happens."

"Is that the wisest route?" Bruce asked.

Biot replied. "In this business, greed is a primary force. Once it gets out that such a drawing is out there, someone might start looking for it. The more people who do, the sooner we'll find out where it is. I'll mention it in, let us say, in a few places."

Before showing them out, he added, "You know, of course, that the Art Loss Register lists about one hundred thousand objects missing and unrecovered. Many are works of little interest, but a de Vinci drawing…"

"Exactly," Bruce agreed. "It is an unusual object to be searching for. But we'll try."

(Click here for the next chapter)


	Chapter 15 Dr. Raymond Biot's place of business was right in front of them. Once inside, they heard humming. Bruce looked up to see a corpulent older man in a white coat busily cleaning a painting with a soft cloth. The man looked over his glasses and smiled broadly. "Ah, Mademoiselle. You have arrived and on time." His English was very good. Bruce extended his hand. "I am Bruce Kellner, from New York" Dr. Biot rubbed his oily hand on his coat. "Ah, M Kellner, the international art investigator. You will excuse my overworked hand," he said. "I am so happy to meet you." "Likewise," Bruce smiled. "I have followed your career with some interest," he added. "I have read some of your papers on restoration." "Ah, you flatter an old man." "Not at all. I read your papers with great interest." "Well," said M. Biot, I must tell you that I know your work very well. I first heard of you years ago when you found the missing Cezanne. Later I read of your discovery of a Rembrandt forgery at the Metropolitan and just last week I heard of the exceptional work you did in recovering the original portrait of Gertrude Stein by M Picasso." "News travels fast," Bruce replied. "Yes," added Biot. "I was at a reception with Picasso at La Californie. He told me about it himself. It is interesting that we should meet now, here in my studio. Surely you are not here to buy a painting. La Contesse did not tell me you would be with her. She only said a friend wanted to meet me. To what do I owe this honor?" Bruce edged closer to the older man. "This is rather delicate and I'm not certain how you can help me." They sat facing each other. Marie Claude interjected. "Monsieur Biot, I brought Mr. Kellner here today to tell you that the da Vinci that hung in our Chateau is missing. It seems to have disappeared." Biot's eyes widened. Through a frown he said, "But so few people knew it even existed. Over the years it was just another picture on a wall. It is hardly a remarkable drawing but important since it was said to have been done by the master himself, centuries ago." He turned to Marie Claude. It was only when I was summoned to Hautefort to discuss cleaning some paintings that your brother showed it to me. I am certain that there are paintings at Hautefort that are worth more than the little da Vinci drawing. For example, the Caravaggio or the Foujitas. I have a weakness for Foujita. He was quite the rage when I was a young man. Do you know of his work?" "I certainly do. I've seen a number of his works in many galleries and museums. He was a Paris based Japanese impressionist; very popular in the twenties. But that is not the point. The value of a painting is often decided by the person who wants it. In this case, someone wanted the da Vinci." "Touché" Biot said in agreement. "I have always found it interesting how one man craves a certain artist while another does not. On the other hand, some people want what's rare and the drawing you have lost mademoiselle was rather unique, if not overly artistic. It was part of an idea by one of the world's most forward thinking men. Imagine going through life with an obsession for man to be able to fly." "Yes. He was ahead of his time". "So, how can I help you?' Bruce sat forward and looked directly into the older man's eyes. "I would like you to ask around in your circle here in France. Perhaps you can suggest that you know that the picture is missing and are interested in it. Someone may know someone who knows something. You might be asked to assess it for someone or …" Biot interrupted. "Or offer to buy it. Value doesn't always stem from beauty. I personally never dreamed of owning a da Vinci. But I don't think there is much chance that I can be of help. I would think that the drawing has been taken from the country, possibly back to Italy. Some people would argue that Italian art should stay in Italy, especially something done by the great da Vinci. No, I don't think I can help you, but you never know. By the way, how many people know it was stolen?" Marie-Claude spoke up. "My brother, the inspector of police in Montignac, Mr. Drollet, Marcel, my family's trusted friend and aid to my brother, Mr Kellner and now you." The old men pursed his lips. "Yes, and now me. Well, I can promise nothing but I shall spread the word that it is missing and see what happens." "Is that the wisest route?" Bruce asked. Biot replied. "In this business, greed is a primary force. Once it gets out that such a drawing is out there, someone might start looking for it. The more people who do, the sooner we'll find out where it is. I'll mention it in, let us say, in a few places." Before showing them out, he added, "You know, of course, that the Art Loss Register lists about one hundred thousand objects missing and unrecovered. Many are works of little interest, but a de Vinci drawing…" "Exactly," Bruce agreed. "It is an unusual object to be searching for. But we'll try." (Click here for the next chapter)