By Aaron Elkins
Mild‑mannered and law‑abiding, Chris Norgren, curator of Renaissance and Baroque artwork on the Seattle artwork Museum, is an not likely undercover investigator, but if a invaluable Rubens portrait is chanced on in a cargo of “authentic reproductions” in an area warehouse, Chris is pressed into carrier to determine the way it bought there. the hunt leads him to the medieval urban of Bologna, one in all his favourite locations, yet all too quickly what could have been a welcome Italian interlude becomes a strange trip into shady paintings international doings and murderous secrets and techniques . . .
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Extra info for A Glancing Light (Chris Norgren)
Luca had, in fact, generously assigned one of his deputies to the onerous chore of grinding through the preliminary paperwork with Salvatorelli, which would have otherwise fallen to me. For this, I probably owed him my sanity. So far, I had no cause for complaint, but lately the Salvatorelli name seemed to be cropping up in ways that did nothing for my confidence. Accidentally shipping Clara Gozzi's Rubens to Blusher without even knowing they had it, for example. And now, if I was understanding Luca, one of the two brothers who ran the firm had been done in by the Mob.
Anyway," Blusher continued, "they said to go ahead and keep the paintings, as far as they're concerned. They didn't want to be bothered. " His head came up with a sudden shrewd glance. " Down went his head again, into his hands. " "But even if they were real, you couldn't keep them. You'd have to return them to the owner. " "Yeah, sure," he said impatiently. " His head came up again to regard me with dull wonder, as if he couldn't comprehend how anyone could be this dense. "Look. I'm in the art business, right?
Behind his soup-strainer of a mustache he chewed contentedly on a mouthful of torteilini. Amedeo Di Vecchio and Max Cabot made an interesting study in contrasts. If someone asked you to guess by looking at them which was a son of Emilia-Romagna and which of Durham, New Hampshire, you'd answer without hesitation, but you'd be wrong. Di Vecchio was a bony six-two, a pallid, Yankeeish-looking man with a short, carroty Abraham Lincoln beard beginning to show some grizzling at its none-too-carefully groomed edges.