arms. The face was rough, outsized eyes and blubbery lips, and turned so she looked out of the picture. I thought it was a bit crude and sketchy to have pride of place opposite the desk.
‘That’s an original by Le Corbusier,’ said Mrs Shapiro. ‘Of Josephine Baker – the famous dancer.’
It didn’t look much like Josephine Baker to me, not with those outsized cartoon lips, flat nose and elongated head. Well, it was a quick sketch and perhaps old Corbusier had been too busy staring at her breasts. The feet were nicely done though – properly proportioned and detailed – maybe he just hadn’t been very good at faces.
‘Is it valuable?’ I asked.
‘Worth about three thousand pounds,’ she said.
Next to the Josephine Baker was a picture I recognised, a framed architectural sketch of Bruno Taut’s glass pavilion. Like all the other architects of his generation, Taut believed that you could morally uplift the masses through architecture. But unlike most of his contemporaries he didn’t want to do that by sticking them in concrete blocks. Taut’s big thing was glass, which he believed had spiritual qualities. He wanted to build Stadtkrones , literally ‘city crowns’, secular cathedrals that would draw the spiritual energy of the city upwards. His glass pavilion at the Cologne Exhibition in 1914 was an elongated dome constructed from glass panels with a step fountain inside – the Gherkin at St Mary Axe is a scaled-up version, but stuffed with lots of offices. As a piece of architecture, it was as pretty and non-functional as an art nouveau bicycle and an odd picture for a committed brutalist like Stromberg to have on his wall.
‘That’s by Bruno Taut,’ said Ms Shapiro. ‘A contemporary of Stromberg, bit of a rebel by all accounts. Can you tell which famous London building it influenced?’
‘Is it valuable as well?’ I asked.
‘Definitely,’ she said, obviously disappointed that I didn’t want to play. ‘Most of the works in here are original if minor pieces by some pretty famous names. The insurance estimate for the art alone is upwards of two million pounds. Hence the expensive security system.’
Even more expensive after the break-in, I thought. And yet none of the art was stolen. ‘If nothing was stolen,’ I asked, ‘how did you know there was a break-in?’
‘Because we found a hole,’ she said with a note of triumph.
I actually knew all about the hole from the report, but it’s always good to get a potential witness warmed up on something you can verify. That way you can tell how bad a liar they are. It’s nothing personal, you understand – just good police work.
Ms Shapiro gracefully dipped down and pulled back an ugly black and white striped rug to reveal where a neat rectangular section of the parquet floor had been recently replaced with a plain hardwood sheet. She hooked a finger through a ring handle at one end and lifted the board away to reveal the safe.
Custom built, possibly by Chubb in the 1950s, although the National Trust hadn’t been able to verify the manufacturer yet.
‘Which makes it an interesting item in its own right,’ said Ms Shapiro. ‘We’re thinking we may leave it uncovered so the public can see it.’
Mulkern had left no tool marks on the casing so it either hadn’t been locked – a possibility – or he’d cracked it the old-fashioned way.
‘Do you reckon it was part of the original build?’ I asked. The safe was shallow enough to fit into the concrete floor without protruding through the ceiling below but was definitely deep enough to hold the Die Praxis Der Magié plus a number of other books – maybe three or four more.
Ms Shapiro shook her head. ‘That’s an excellent question to which I wish I knew the answer.’
I lowered myself onto the floor and stuck my face in the safe. It smelt of clean metal and what might have been old paper – there were no vestigia that I could detect. Nightingale had advised that the grimoire
‘That’s an original by Le Corbusier,’ said Mrs Shapiro. ‘Of Josephine Baker – the famous dancer.’
It didn’t look much like Josephine Baker to me, not with those outsized cartoon lips, flat nose and elongated head. Well, it was a quick sketch and perhaps old Corbusier had been too busy staring at her breasts. The feet were nicely done though – properly proportioned and detailed – maybe he just hadn’t been very good at faces.
‘Is it valuable?’ I asked.
‘Worth about three thousand pounds,’ she said.
Next to the Josephine Baker was a picture I recognised, a framed architectural sketch of Bruno Taut’s glass pavilion. Like all the other architects of his generation, Taut believed that you could morally uplift the masses through architecture. But unlike most of his contemporaries he didn’t want to do that by sticking them in concrete blocks. Taut’s big thing was glass, which he believed had spiritual qualities. He wanted to build Stadtkrones , literally ‘city crowns’, secular cathedrals that would draw the spiritual energy of the city upwards. His glass pavilion at the Cologne Exhibition in 1914 was an elongated dome constructed from glass panels with a step fountain inside – the Gherkin at St Mary Axe is a scaled-up version, but stuffed with lots of offices. As a piece of architecture, it was as pretty and non-functional as an art nouveau bicycle and an odd picture for a committed brutalist like Stromberg to have on his wall.
‘That’s by Bruno Taut,’ said Ms Shapiro. ‘A contemporary of Stromberg, bit of a rebel by all accounts. Can you tell which famous London building it influenced?’
‘Is it valuable as well?’ I asked.
‘Definitely,’ she said, obviously disappointed that I didn’t want to play. ‘Most of the works in here are original if minor pieces by some pretty famous names. The insurance estimate for the art alone is upwards of two million pounds. Hence the expensive security system.’
Even more expensive after the break-in, I thought. And yet none of the art was stolen. ‘If nothing was stolen,’ I asked, ‘how did you know there was a break-in?’
‘Because we found a hole,’ she said with a note of triumph.
I actually knew all about the hole from the report, but it’s always good to get a potential witness warmed up on something you can verify. That way you can tell how bad a liar they are. It’s nothing personal, you understand – just good police work.
Ms Shapiro gracefully dipped down and pulled back an ugly black and white striped rug to reveal where a neat rectangular section of the parquet floor had been recently replaced with a plain hardwood sheet. She hooked a finger through a ring handle at one end and lifted the board away to reveal the safe.
Custom built, possibly by Chubb in the 1950s, although the National Trust hadn’t been able to verify the manufacturer yet.
‘Which makes it an interesting item in its own right,’ said Ms Shapiro. ‘We’re thinking we may leave it uncovered so the public can see it.’
Mulkern had left no tool marks on the casing so it either hadn’t been locked – a possibility – or he’d cracked it the old-fashioned way.
‘Do you reckon it was part of the original build?’ I asked. The safe was shallow enough to fit into the concrete floor without protruding through the ceiling below but was definitely deep enough to hold the Die Praxis Der Magié plus a number of other books – maybe three or four more.
Ms Shapiro shook her head. ‘That’s an excellent question to which I wish I knew the answer.’
I lowered myself onto the floor and stuck my face in the safe. It smelt of clean metal and what might have been old paper – there were no vestigia that I could detect. Nightingale had advised that the grimoire
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