Raisins and almonds - Poisoned Pen Press (UK)
Raisins and almonds - Poisoned Pen Press (UK)
Raisins and almonds - Poisoned Pen Press (UK)
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8 Kerry Greenwood<br />
bought a big trunk of drawings <strong>and</strong> etchings for a few francs<br />
because he thought it might contain some of the Hokusai screen<br />
pictures popular in the nineties—that’s what he could see at the<br />
top. They were an inspiration to the Impressionists, you know,<br />
<strong>and</strong> I used to remount them as pictures <strong>and</strong> we could always<br />
sell them. It was difficult, because they were printed on very<br />
cheap paper. We hauled the trunk home to our atelier, which<br />
was freezing, it was the middle of winter, so cold that ice was<br />
forming on the inside of our windows, <strong>and</strong> we upturned it so that<br />
all the prints <strong>and</strong> scrolls fell out onto the oilcloth. And Bennie<br />
was unrolling them <strong>and</strong> sorting them while I was making coffee,<br />
<strong>and</strong> I heard him say a very rude word.’<br />
‘And she turned <strong>and</strong> saw me unrolling a full length red chalk<br />
sketch of the Madonna, a study for a sculpture, perhaps. On<br />
vellum so old that it cracked,’ said Mr. Abrahams’ rich voice<br />
from the door. ‘And I said “Look, Julia,” <strong>and</strong> she looked, <strong>and</strong><br />
there were the initials in the corner, clear as the day Michelangelo<br />
drew them, <strong>and</strong> she sat back on her heels <strong>and</strong> said, “First, some<br />
coffee, <strong>and</strong> then we rejoice that God has not forgotten us.” But<br />
I was so nervous that when the coffee came I spilled it, though<br />
not on the Michelangelo drawing. Come, beautiful ladies, if you<br />
have finished with the Renoir we can sit down, hmm?’ He led<br />
the way into the library <strong>and</strong> they sat down again. Julia sipped<br />
her sherry, smiling, <strong>and</strong> her male relatives exhaled a breath of<br />
not-very-well-concealed relief.<br />
‘Then what happened?’ asked Phryne, agog.<br />
‘Oh, then we carried it together—such a journey, we were<br />
terrified that something would happen to tear the miracle from<br />
us—into the Ile de Cité to the Sotheby’s man; <strong>and</strong> the relief<br />
when we laid it on his table <strong>and</strong> Bennie gave him the receipts<br />
for the provenance—they had to check of course that the dead<br />
count’s family had such a thing in their possession, but it was<br />
clear title, inventory entries right back to the day they bought it<br />
from Michelangelo’s estate. The dead man had no heirs, so we<br />
weren’t taking anything away from anyone, such a great thing the<br />
Lord did for us. And we didn’t have any money for a celebration