by storm with his inventions, he was also Icon—history’s most notorious art thief. It was this secret that was destroying me.
All I believed about us is a lie.
I hurried onward refocusing on the reason I was here.
I’d worn a deep blue laced dress, the color calming, and the detail of the scalloped lace hemline pretty and nonthreatening. The style made me feel feminine but strong; with the strappy high heels, my height would at least be closer to his. Tucking my Dooney and Bourke pouchette purse behind me, I took a moment to center myself, prepare for what lay ahead.
Taking in a deep, steadying breath, I raised my gaze skyward to the architectural wonder of the multicolored glass ceiling showering shards of radiant light upon me. A vivid display bridging the old world with the new, the complex prisms were quite simply beautiful and provided a rare glimpse into Tobias’s nature.
The first curator to greet me had advised that the route I was now taking was the best way to approach the gallery’s most treasured piece, generously on loan from the Los Angeles County Museum of Art. The one portrait everyone came to pay homage to.
Along with the imminent visceral experience from viewing such a masterpiece, this moment was filled with a ribbon of emotions unfolding with the complexity they deserved, from seeing the man who I’d thought of as my one true love to the strain of having to persuade Tobias to surrender to Interpol. Or, if it was easier, he could come with me to the police. I’d do everything in my power to make his arrest a little kinder on him.
Tobias had single-handedly shaken the art community to its core by stealing some of its most precious portraits, and all this without leaving a trace.
Right up until that raven had dive-bombed his heist back in France, leaving a few feathers to mark its uninvited descent into a priceless rotunda in Amboise. Such a chaotic misadventure proved nothing fazed him. Tobias had gotten away with a self-portrait by Titian, no less.
In his own indomitable style he had also incapacitated my world when he’d swept me up into a rapturous love affair that had left me questioning my integrity. I had to know if I’d been merely a means to an end because as a forensic art investigator, I’d seemingly been a pawn to move and manipulate and provide him with insider glimpses into his case. If it were not for me, our private investigation would have otherwise remained secured away on Huntly Pierre’s database—the company I worked for and the firm that had tasked me with tracking him down.
I wallowed in guilt that so far I’d done nothing.
Until today.
I’d needed time to analyze the evidence to prove Wilder was our man. Such an accusation could devastate a reputation. There was no room for error or even doubt. It was impossible to deny the raw truth I’d personally witnessed at his home in Oxfordshire, having stood right there in that cold vault and viewed those stolen paintings. My uncanny ability to spot a fake had proven a curse as I’d known I was viewing an authentic Rembrandt, and a Monet. Along with the others I’d viewed, it had added up to irrefutable evidence.
I’d left his home with nothing to corroborate my story. Accusing one of Huntly Pierre’s most exclusive clients would see my thin thread of credibility gone, along with my dream job. My future hinged on doing the right thing.
And doing it well.
Yes, Tobias had stolen those paintings to return them to their rightful owners. Having tracked their provenance, I knew these privately owned collections had been robbed before by some faceless thieves for personal profit.
Still, sooner than later Tobias was going to get caught. This beautiful, brilliant man who had shown me how to love deserved so much more than the consequences of his heroic misadventures.
During our last agonizing phone call, a few weeks ago while I was still in London, I’d begged him to give up this life and in typical Tobias fashion he’d teased me with how to find him, giving a clue that only an art lover like me could decipher.
He’d described how alike I was to Madame Duchesne-Fournet, though he’d not spoken her name then. He’d merely mentioned that upon unveiling the painting in the late eighteenth century, she’d brought Paris to a standstill. He’d compared what Madame Duchesne-Fournet had done to France to what I’d done to him.
Brought Tobias to his knees.
How much I wanted to believe he loved me. I needed to know what we’d had was real.
There was no place for weakness.
No time for delusion.
In any other circumstance I would have refused to rush along, simply couldn’t imagine not paying any attention to the other paintings like the last frame, La Promenade, by Pierre-Auguste Renoir. Glimpsing back at the painting, I felt a wave of melancholy at that 1870 oil on canvas conveying a dashing gentleman with his hand held out to assist his lover up the grassy bank, the flirtatious turn of her head hinting this was a new and thrilling love.
I wanted to go back in time and warn her away from him.
Hurrying onward, I flew around the corner and arrived in the vast showroom displaying a series of masterpieces.
My heels echoed on white marble as they carried me to the center of the large space where I would find her, realizing that part of her allure was Tobias’s teasing description of her influence.
Turning, I faced the long stretch of opulent tile stretching beyond and raised my gaze to look at her—the acclaimed Madame Paul Duchesne-Fournet.
Gasping in awe when I saw her...
Madame Duchesne-Fournet was more wondrous than I’d ever imagined, her extraordinary presence emanating out of the frame and leaving me spellbound.
The way her long golden frame hung low on the wall made her appear to be standing right at the end of the gallery.
Waiting for me.
Taking in her natural beauty, those elegant angles of her face, a striking porcelain complexion and pronounced jawline, her refined nose. Most stunning of all was her chestnut gaze that revealed a sharp intelligence and sparked a sense of consciousness. The grandness of her full black gown and plush jacket reflected her status as the wife of a prominent French politician.
As I closed the gap between us, it took all my will not to trace my fingertips along the exquisite canvas—the austere background enhancing her outline and creating realism, her appearance accentuated by the remarkable contrast expertly melding her profile. This was the unmistakable technique of “sfumato,” one of the four canonical painting modes often used in Renaissance art. Painting in this mode was a rare skill mastered by Henner and proved his talent at layering colors and tones and shading them into one another to provide boldness and, when needed, a subtlety of form.
A sigh of respect left my lips.
What message had Tobias been trying to tell me by inviting me here to see her? Perhaps he’d wanted me to know he truly understood me and that this painting would somehow endear me to him more because of our mutual admiration for art. Perhaps he wanted me to know our connection was as deep as I believed it to be.
A living, breathing masterpiece.
Reluctantly, I drew my gaze away and glanced at my watch.
I was right on time for my appointment with Mr. Wilder. Three days ago I’d reached out to Maria Perez, his senior curator, and informed her I’d be paying their gallery a visit.
I’d texted Tobias and warned him he better meet me here or there would be consequences. As expected, he’d ghosted me, refusing to reply. Considering this was the phone he’d gifted me and it now served as a tracking device to my whereabouts, I was sure he’d gotten the message.
He was wise enough to turn up.
Back in the lobby, I made polite conversation with the receptionist to prove my credentials and confirm my meeting.
The tall, young steward left her station behind the round desk and guided