As for Speck himself, nine-thirty found him in good company, briskly tying the strings of his Masonic apron. No commitment
stronger than prudence kept him from being at St. Gervais, listening for a voice in the night of the soul, or at a Communist Party cell meeting, hoping to acquire a more wholesome slant on art in a doomed society, but he had already decided that only the Infinite could be everywhere at once. The Masonic Grand Architect of the Universe laid down no rules, appointed no prophets, required neither victims nor devotion, and seemed content to exist as a mere possibility. At the lodge Speck rubbed shoulders with men others had to be content to glimpse on television. He stood now no more than three feet away from Kléber Schaumberger, of the Alsatian Protestant banking Schaumbergers; had been greeted by Olivier Ombrine, who designed all the Arabian princesses’ wedding gowns; could see, without craning, the plume of white hair belonging to François-Xavier Blum-Bloch-Weiler—former ambassador, historian, member of the French Academy, author of a perennially best-selling book about Vietnam called
When France Was at the Helm
. Speck kept the ambassador’s family tree filed in his head. The Blum-Bloch-Weilers, heavy art collectors, produced statesmen, magistrates, anthropologists, and generals, and were on no account to be confused with the Blum-Weiler-Blochs, their penniless and mystical cousins, who produced poets, librarians, and Benedictine monks.
Tonight Speck followed the proceedings mechanically; his mind was set on the yellow pad in his briefcase, now lying on the backseat of his car. Direct address and supplication to the unknown were frowned on here. Order reigned in a complex universe where the Grand Architect, insofar as he existed, was supposed to know what he was doing. However, having nowhere to turn, Speck decided for the first time in his life to brave whatever cosmic derangement might ensue and to unburden himself.
Whoever and whatever you are, said Speck silently, as many had said before him, remember in my favor that I have never bothered you. I never called your attention to the fake Laurencin, the stolen Magritte, the Bonnard the other gallery was supposed to have insured, the Maurice Denis notebook that slipped through my fingers, the Vallotton woodcut that got lost between Paris and Lausanne. All I want … But there was no point in his insisting. The Grand Architect, if he was any sort of omnipresence worth
considering, knew exactly what Speck needed now: He needed the tiny, enduring wheel set deep in the clanking, churning machinery of the art trade—the artist himself.
Speck came out to the street refreshed and soothed, feeling that he had shed some of his troubles. The rain had stopped. A bright moon hung low. He heard someone saying, “… hats.” On the glistening pavement a group of men stood listening while Senator Antoine Bellefeuille told a funny story. Facts from the Bellefeuille biography tumbled through Speck’s mind: twenty years a deputy from a rich farming district, twice a cabinet minister, now senator; had married a sugar-beet fortune, which he inherited when his wife died; no children; his mother had left him majority shares in milk chocolate, which he had sold to invest in the first postwar plastics; owned a racing stable in Normandy, a château in Provence, one of the last fine houses of Paris; had taken first-class degrees in law and philosophy; had gone into politics almost as an afterthought.
What had kept the old man from becoming Prime Minister, even President of the Republic? He had the bearing, the brains, the fortune, and the connections. Too contented, Speck decided, observing his lodge brother by moonlight. But clever, too; he was supposed to have kept copies of files from the time he had been at Justice. He splashed around in the arts, knew the third-generation dealers, the elegant bachelor curators. He went to openings, was not afraid of new movements, but he never bought anything. Speck tried to remember why the wealthy Senator who liked art never bought pictures.
“She was stunning,” the Senator said. “Any man of my generation will tell you that. She came down Boulevard Saint-Michel on her husband’s arm. He barely reached her shoulder. She had a smile like a fox’s. Straight little animal teeth. Thick red-gold hair. A black hat tilted over one eye. And what a throat. And what hands and arms. A waist no larger than this,” said the Senator, making a circle with his hands. “As I said, in those days men wore hats. You tipped a bowler by the brim, the other sort you picked up by the crown. I was so dazzled by being near her, by having the famous Lydia Cruche smile at me, I forgot I was wearing a bowler and tried to pick it up by the crown. You can imagine what a fool I looked, and how she laughed.”
And of course they laughed, and Speck laughed, too.
“Her husband,” said the Senator. “Hubert Cruche. A face like a gargoyle. Premature senile dementia. He’d been kicked by Venus at some time or other”—the euphemism for syphilis. “In those days the cure was based on mercury—worse than the disease. He seemed to know me. There was light in his eyes. Oh, not the light of intelligence. It was too late for that, and he’d not had much to begin with. He recognized me for a simple reason. I had already begun to assemble my Cruche collection. I bought everything Hubert Cruche produced for sixteen years—the oils, the gouaches, the pastels, the watercolors, the etchings, the drawings, the woodcuts, the posters, the cartoons, the book illustrations. Everything.”
That was it, Speck remembered. That was why the Senator who liked art never bought so much as a wash drawing. The house was full of Cruches; there wasn’t an inch to spare on the walls.
With a monarch’s gesture, the Senator dismissed his audience and stepped firmly toward the chauffeur, who stood holding the door of his Citroën. He said, perhaps to himself, perhaps to Speck, thin and attentive in the moonlight, “I suppose I ought to get rid of my Cruches. Who ever thinks about Cruche now?”
“No,” said Speck, whom the Grand Architect of the Universe had just rapped over the head. The Senator paused—benevolent, stout. “Don’t get rid of the Cruches,” said Speck. He felt as if he were on a distant shore, calling across deep cultural waters. “Don’t sell! Hang on! Cruche is coming back!”
Cruche, Cruche, Hubert Cruche, sang Speck’s heart as he drove homeward. Cruche’s hour had just struck, along with Sandor Speck’s. At the core of the May-June retrospective would be his lodge brother’s key collection: “Our thanks, in particular … who not only has loaned his unique and invaluable … but who also … and who …” Recalling the little he knew of Cruche’s obscure career, Speck made a few changes in the imaginary catalogue, substituting with some disappointment
The Power Station at Gagny-sur-Orme
for
Misia Sert on Her Houseboat
, and
Peasant Woman
Sorting Turnips
for
Serge Lifar as Petrouchka
. He wondered if he could call Cruche heaven-sent. No; he would not put a foot beyond coincidence, just as he had not let Walter dash from saint to saint once he had settled for St. Joseph. And yet a small flickering marsh light danced upon the low-lying metaphysical ground he had done so much to avoid. Not only did Cruche overlap to an astonishing degree the painter in the yellow notebook but he was exactly the sort of painter that made the Speck gallery chug along. If Speck’s personal collection consisted of minor works by celebrated artists, he considered them his collateral for a rainy, bank-loan day. Too canny to try to compete with international heavy-weights, unwilling to burden himself with insurance, he had developed as his specialty the flattest, palest, farthest ripples of the late-middle-traditional Paris school. This sensible decision had earned him the admiration given the devoted miniaturist who is no threat to anyone. “Go and see Sandor Speck,” the great lions and tigers of the trade would tell clients they had no use for. “Speck’s the expert.”
Speck was expert on barges, bridges, cafés at twilight, nudes on striped counterpanes, the artist’s mantelpiece with mirror, the artist’s street, his staircase, his bed made and rumpled, his still life with half-peeled apple, his summer in Mexico, his wife reading a book, his girlfriend naked and dejected on a kitchen chair. He knew that the attraction of customer to picture was always accidental, like love; it was his business to make it overwhelming. Visitors came to the gallery looking for decoration and investment, left it believing Speck had put them on the road to a supreme event. But there was even more to Speck than this, and if he was respected for anything in the trade it was for his knack with artists’ widows. Most dealers hated them. They were considered vain, greedy, unrealistic, and tougher than bulldogs. The worst were those whose husbands had somehow managed the rough crossing to recognition only to become washed up at the wrong end of the beach. There the widow waited, guarding the wreckage. Speck’s skill in dealing with them came out of a certain sympathy. An artist’s widow was bound to be suspicious and adamant. She had survived the discomfort and confusion of her marriage;
had lived through the artist’s drinking, his avarice, his affairs, his obsession with constipation, his feuds and quarrels, his cowardice with dealers, his hypocrisy with critics, his depressions (which always fell at the most joyous seasons, blighting Christmas and spring); and then—oh, justice!—she had outlasted him.
Transfiguration arrived rapidly. Resurrected for Speck’s approval was an ardent lover, a devoted husband who could not work unless his wife was around, preferably in the same room. If she had doubts about a painting, he at once scraped it down. Hers was the only opinion he had ever trusted. His last coherent words before dying had been of praise for his wife’s autumnal beauty.
Like a swan in muddy waters, Speck’s ancient Bentley cruised the suburbs where his painters had lived their last resentful seasons. He knew by heart the damp villa, the gravel path, the dangling bellpull, the shrubbery containing dead cats and plastic bottles. Indoors the widow sat, her walls plastered with portraits of herself when young. Here she continued the struggle begun in the Master’s lifetime—the evicting of the upstairs tenant—her day made lively by the arrival of mail (dusty beige of anonymous threats, grim blue of legal documents), the coming and going of process servers, the outings to lawyers. Into this spongy territory Speck advanced, bringing his tactful presence, his subtle approximation of courtship, his gift for listening. Thin by choice, pale by nature, he suggested maternal need. Socks and cuff links suggested breeding. The drift of his talk suggested prosperity. He sent his widows flowers, wooed them with food. Although their taste in checks and banknotes ran to the dry and crisp, when it came to eating they craved the sweet, the sticky, the moist. From the finest pastry shops in Paris Speck brought soft macaroons, savarins soaked in rum, brioches stuffed with almond cream, mocha cake so tender it had to be eaten with a spoon. Sugar was poison to Speck. Henriette had once reviewed a book that described how refined sugar taken into one’s system turned into a fog of hideous green. Her brief, cool warning, “A Marxist Considers Sweets,” unreeled in Speck’s mind if he was confronted with a cookie. He usually pretended to eat, reducing a mille-feuille to paste, concealing the wreck of an éclair under napkin and fork. He never lost track of his purpose—the prying of paintings out of a dusty
studio on terms anesthetizing to the artist’s widow and satisfactory to himself.
The Senator had mentioned a wife; where there had been wife there was relict. Speck obtained her telephone number by calling a rival gallery and pretending to be looking for someone else. “Cruche’s widow can probably tell you,” he finally heard. She lived in one of the gritty suburbs east of Paris, on the far side of the Bois de Vincennes—in Speck’s view, the wrong direction. The pattern of his life seemed to come unfolded as he dialed. He saw himself stalled in industrial traffic, inhaling pollution, his Bentley pointed toward the seediest mark on the urban compass, with a vanilla cream cake melting beside him on the front seat.
She answered his first ring; his widows never strayed far from the telephone. He introduced himself. Silence. He gave the name of the gallery, mentioned his street, recited the names of painters he showed.
Presently he heard “D’you know any English?”
“Some,” said Speck, who was fluent.
“Well, what do you want?”
“First of all,” he said, “to meet you.”
“What for?”
He cupped his hand round the telephone, as if spies from the embassies down the street were trying to overhear. “I am planning a major Cruche show. A retrospective. That’s what I want to talk to you about.”
“Not unless I know what you want.”
It seemed to Speck that he had already told her. Her voice was languid and nasal and perfectly flat. An index to English dialects surfaced in his mind, yielding nothing useful.
“It will be a strong show,” he went on. “The first big Cruche since the 1930s, I believe.”
“What’s that got to do with me?”
He wondered if the Senator had forgotten something essential—that Lydia Cruche had poisoned her husband, for instance. He said, “You probably own quite a lot of his work.”
“None of it’s for sale.”
This, at last, was familiar; widows’ negotiations always began with “No.” “Actually, I am not proposing to buy anything,” he
said, wanting this to be clear at the start. “I am offering the hospitality of my gallery. It’s a gamble I am willing to take because of my firm belief that the time—”
“What’s the point of this show?”
“The point?” said Speck, his voice tightening as it did when Walter was being obtuse. “The point is getting Cruche back on the market. The time has come—the time to … to attack. To attack the museums with Hubert Cruche.”
As he said this, Speck saw the great armor-plated walls of the Pompidou Art Center and the chink in the armor through which an 80 × 95 Cruche 1919 abstract might slip. He saw the provincial museums, cheeseparing, saving on lightbulbs, but, like the French bourgeoisie they stood for, so much richer than they seemed. At the name “Cruche” their curators would wake up from neurotic dreams of forced auction sales, remembering they had millions to get rid of before the end of the fiscal year. And France was the least of it; London, Zurich, Stockholm, and Amsterdam materialized as frescoes representing the neoclassical façades of four handsome banks. Overhead, on a Baroque ceiling, nymphs pointed their rosy feet to gods whose chariots were called “Tokyo” and “New York.” Speck lowered his voice as if he had portentous news. Museums all over the world, although they did not yet know this, were starving for Cruche. In the pause that followed he seemed to feel Henriette’s hand on his shoulder, warning him to brake before enthusiasm took him over the cliff.