More real estate was the last thing she needed. Her broker priced the condo at a million plus and assured her of a quick sale. After the apartment sat for eighteen months without a nibble, Teddy decided the place would be more attractive if it were properly furnished and decorated. She’d hired a Santa Teresa stager named Annabelle Wright and instructed her to cherry-pick the items in Ari’s basement for that purpose. He agreed because the hostilities had gone on long enough and he wanted her out of his hair.
Once the condo was suitably tarted up, Teddy had hired a photographer to do a shoot, and the resulting four-color brochure was circulated among real estate agents in Beverly Hills. A well-known actor had snapped it up—all cash, no contingencies, and a ten-day escrow. The deal was done and all that remained was for the two of them to sign off so Teddy could collect her check.
In the meantime, and this was Teddy’s final rationalization:
4. Ari and Stella had gotten married.
Teddy had moved to Bel Air by then, living in the guesthouse of a friend who’d taken pity on her and invited her to stay for an unspecified period of time. It was during the ten-day escrow, while papers were being drawn up, that someone spotted the painting that appeared in the brochure, a seascape shown hanging above the fireplace in the living room. This was a dealer who owned a gallery on Melrose and had an unerring eye for the finer things in life. He’d glanced at the photograph and then brought it closer to his face. A nanosecond later, he picked up the phone and called Teddy, who’d long been a customer of his.
“This looks like a Turner, darling. Could it possibly be genuine?”
“Oh, I doubt it. That’s been sitting in the basement for years.”
“Well, if I were you, I’d send color photographs to the Tate to see if someone can establish the provenance. Better yet, take the painting yourself and see what they have to say. What harm could it do?”
Heeding his advice, she decided to retrieve the painting and have it examined by the experts. She returned to Santa Teresa, where she signed the final papers on the sale and then drove from the broker’s office to the condominium. She’d been told the new owner would be taking possession the following weekend as soon as the place had been emptied, so when she let herself in, she was astonished to see the apartment had already been stripped to the bare walls. No furniture, no art, no Persian carpets, and no accessories. She’d called Ari, who was gleeful. He said he’d known she’d dash in and confiscate any items she took a fancy to, so he’d made a preemptive strike and emptied the place. If she wanted to dispute the move, she could have her attorney contact his.
As she no longer had access to the painting, she approached the photographer and asked to see his proofs. There were several clear shots of the painting, which was really quite lovely now that she had the chance to examine it more closely. It was a seascape with a flat beach and a sky streaked with clouds. In the background, cliffs were visible; probably the Margate Cliffs, a Turner favorite. In the foreground, a boat appeared to have foundered. The boat itself, she learned later, was known as a xebec, a small three-masted ship having an overhanging bow and stern and both square and lateen sails. The tonal quality was delicate, gradations of browns and grays with touches of color here and there. She asked for and was given four prints.
At that point, she realized she’d better buckle down to work. She moved back to town and embarked on a comprehensive self-education. She studied the J.M.W. Turner catalogue raisonné and any other biographical information she could get her hands on. Turner had died in 1851. The bulk of his artistic output he’d left as a bequest to the National Gallery in London. Three hundred and eighteen paintings went to the Tate and National Gallery, and thirty-five oil sketches to the British Museum. The remaining two hundred plus paintings were in private collections in Great Britain and America.
Nine paintings were unaccounted for. The appearance of one such painting, whose whereabouts and size were unknown, had been mentioned in the November 1833 Magazine of Fine Arts. Described as “a beautiful little picture,” it was hung in the Society of British Artists exhibition that same year. Its owner was one J. Carpenter, about whom nothing else was known except that he had loaned a Hogarth and a Morland to this same exhibition. Teddy’s eyes filled with tears and she’d had to honk discreetly into a tissue.
She drove to the Santa Teresa County Architectural Archives and then to the Santa Teresa Dispatch to research the family who’d had the painting in its possession for so many years. Jeremy Carpenter IV had emigrated from England to America in 1899, bringing with him a sizable family and a ship’s hold filled with household goods. The home he built in Montebello, which had taken five years to complete, was finished in 1904.