rightful owners, including the
galleries of the German Democratic Republic. Others, however, have appeared on
walls as far-flung as the Getty Museum in California and the Gotoh in Tokyo,
sometimes without a fully satisfactory explanation. In fact, one of Renoir’s
major works can currently be seen hanging on the walls of the Metropolitan
Museum in New York. It undoubtedly passed through Goering’s hands although the
curator of the museum has never been willing to explain how the gallery came
into possession of it.”
“Have all the missing pictures now been
found?” asked Romanov anxiously.
“Over seventy per cent,
but there are still many more to be accounted for. Some may even have been lost or destroyed,
but my guess is that there are still a large number that remain lodged in Swiss
banks.”
“How can you be so certain?” demanded
Romanov, fearful that his last avenue might be closing.
“Because the Swiss banks
always return valuables when they can be certain of a nation’s or individual’s
right of possession. In
the case of the Grand Duke of Hesse and the Tsar’s icon there was no proof of
ownership, as the last official owner was Tsar Nicholas II and he, as every
good Russian knows, Comrade, had no successors.”
“Then I must do exactly what Goering did and
retrace his steps by going direct to the banks. What has been their policy to
date?” asked Romanov.
“That differs from establishment to
establishment,” said Petrova. “Some banks wait for twenty years or more and
then try either by extensive research or advertising to contact the owner or
their next of kin. In the case of the Jews who lost their lives under the Nazi
regime, it has often proved impossible to trace a legitimate owner. Although I
have been unable to prove it, I suspect they kept the rewards and split the
proceeds among themselves,” said Petrova. “Typical
capitalists.”
“That is neither fair nor accurate, Comrade,”
said Romanov, glad to show that he had also been doing some research. “Because that is another of the great myths perpetrated by the
poor. In fact, when the banks have been unable to discover the rightful
owner of any treasure left with them they have handed it over to the Swiss Red
Cross to auction.”
“But if the Tsar’s icon had ever been
auctioned we would have heard about it by now through one of our agents?”
“Precisely,” said Romanov. “And I’ve already
checked through the ,inventory of the Red Cross: four
icons have been disposed of during the last twenty years and none of them was
St George and the Dragon.”
“Then that can only mean some unscrupulous
bankers have disposed of the icon privately once they felt sure no one was
going to make a claim.”
“Another false premise, I suspect, Comrade
Petrova.”
“How can you be so certain?” the young
researcher asked.
“For one simple reason,
Comrade. The Swiss
banking families all know each other intimately and have never in the past
shown any propensity for breaking the law. Swiss justice, in our experience, is
as tough on corrupt bankers as it is on murderers, which is precisely why the
Mafia was never happy about laundering its money through the established banks.
The truth is that Swiss bankers make so much money dealing with honest people
that it has never been in their best interests to become involved with crooks.
There are remarkably few exceptions to this rule, which is the reason so many
people are willing to do business with the Swiss.”
“So, if Goering stole the Tsar’s icon and
deposited it in a Swiss bank vault, it could be anywhere in the world by now?”
said Petrova.
“I doubt it.”
“Why?” sighed Petrova, a little peeved that
her deductions were now proving wide of the mark.
“Because for the past three weeks I have had
heaven knows how many operatives combing Europe for the Tsar’s icon. They have
spoken to nearly every major curator, keeper, dealer and crook in the art world
and yet they still
galleries of the German Democratic Republic. Others, however, have appeared on
walls as far-flung as the Getty Museum in California and the Gotoh in Tokyo,
sometimes without a fully satisfactory explanation. In fact, one of Renoir’s
major works can currently be seen hanging on the walls of the Metropolitan
Museum in New York. It undoubtedly passed through Goering’s hands although the
curator of the museum has never been willing to explain how the gallery came
into possession of it.”
“Have all the missing pictures now been
found?” asked Romanov anxiously.
“Over seventy per cent,
but there are still many more to be accounted for. Some may even have been lost or destroyed,
but my guess is that there are still a large number that remain lodged in Swiss
banks.”
“How can you be so certain?” demanded
Romanov, fearful that his last avenue might be closing.
“Because the Swiss banks
always return valuables when they can be certain of a nation’s or individual’s
right of possession. In
the case of the Grand Duke of Hesse and the Tsar’s icon there was no proof of
ownership, as the last official owner was Tsar Nicholas II and he, as every
good Russian knows, Comrade, had no successors.”
“Then I must do exactly what Goering did and
retrace his steps by going direct to the banks. What has been their policy to
date?” asked Romanov.
“That differs from establishment to
establishment,” said Petrova. “Some banks wait for twenty years or more and
then try either by extensive research or advertising to contact the owner or
their next of kin. In the case of the Jews who lost their lives under the Nazi
regime, it has often proved impossible to trace a legitimate owner. Although I
have been unable to prove it, I suspect they kept the rewards and split the
proceeds among themselves,” said Petrova. “Typical
capitalists.”
“That is neither fair nor accurate, Comrade,”
said Romanov, glad to show that he had also been doing some research. “Because that is another of the great myths perpetrated by the
poor. In fact, when the banks have been unable to discover the rightful
owner of any treasure left with them they have handed it over to the Swiss Red
Cross to auction.”
“But if the Tsar’s icon had ever been
auctioned we would have heard about it by now through one of our agents?”
“Precisely,” said Romanov. “And I’ve already
checked through the ,inventory of the Red Cross: four
icons have been disposed of during the last twenty years and none of them was
St George and the Dragon.”
“Then that can only mean some unscrupulous
bankers have disposed of the icon privately once they felt sure no one was
going to make a claim.”
“Another false premise, I suspect, Comrade
Petrova.”
“How can you be so certain?” the young
researcher asked.
“For one simple reason,
Comrade. The Swiss
banking families all know each other intimately and have never in the past
shown any propensity for breaking the law. Swiss justice, in our experience, is
as tough on corrupt bankers as it is on murderers, which is precisely why the
Mafia was never happy about laundering its money through the established banks.
The truth is that Swiss bankers make so much money dealing with honest people
that it has never been in their best interests to become involved with crooks.
There are remarkably few exceptions to this rule, which is the reason so many
people are willing to do business with the Swiss.”
“So, if Goering stole the Tsar’s icon and
deposited it in a Swiss bank vault, it could be anywhere in the world by now?”
said Petrova.
“I doubt it.”
“Why?” sighed Petrova, a little peeved that
her deductions were now proving wide of the mark.
“Because for the past three weeks I have had
heaven knows how many operatives combing Europe for the Tsar’s icon. They have
spoken to nearly every major curator, keeper, dealer and crook in the art world
and yet they still
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