‘No touching,’ Bob growled from above. ‘It’s moran my job’s worth if anything happens to them pictures.’
Returning Dry Gully to the collection was one thing, finding out how it got there in the first place was another. That was a question for Bernice Kaufman.
The receptionist was still out to lunch, so I went straight through to Bernice’s office. It, too, was empty, as was that of the neighbouring Industrial Officer. But the big fat suspension file labelled Combined Unions Superannuation Scheme was still sitting there, right where Bernice had left it. Lowering myself into the inflatable ring cushion on her chair, I began thumbing.
For all her ferocious efficiency, Bernice was unlikely to win any Institute of Management awards for the neatness of her record-keeping. The CUSS file contained everything but the kitchen sink-minutes of sub-committees, auditors’ reports, back copies of the members’ newsletter-all of an unedifyingly general nature.
Naturally enough, there was a lot of accounting stuff, including a collection of monthly statements from Obelisk Trust. As of the thirtieth of the previous, CUSS had a balance of slightly more than $6 million in its Obelisk account, half equity linked, half property trust, the first yielding 19.2 per cent, the second 22.8 per cent. Even to a man unschooled in the finer points of finance, these seemed like passably tolerable rates of return. But it wasn’t where CUSS kept its cash reserves that interested me so much as where it got its art.
I hit that particular jackpot when I opened a well-stuffed manilla folder and found a sheet of paper bearing the elegantly understated letterhead of Austral Fine Art, Pty Ltd. It was the cover page of a document, dated five months earlier, confirming a number of purchases made by Austral on behalf of the Combined Unions Superannuation Scheme and listing the price of each work. Austral’s address was a postoffice box in South Yarra and Drysdale’s Dry Gully, at $60,000, was its single most expensive acquisition on CUSS’s behalf.
Bulldog-clipped to the letter was a swatch of pages, also on Austral letterhead, each headed Provenance and Certificate of Authenticity, and consisting of a simple one-paragraph statement, signed at the bottom. The one I wanted read:
Sir Russell Drysdale: Dry Gully (1946)
This painting is the work of the late Sir Russell Drysdale and is from his estate. Austral Fine Art unconditionally guarantees the authenticity of the above named work.
The signature on both the letter and the certificates was an ornate arabesque, executed in fountain pen and utterly illegible. But the name and title typed below it were decipherable at a glance.
Fiona Lambert, it read, Managing Director.
‘Interesting?’ Bernice Kaufman loomed in the doorway, her voice dripping sarcasm.
‘Ah!’ I jumped to my feet, beaming. ‘You’re back.’ I gestured towards the unattended reception area. ‘Hope you don’t mind me waiting for you in here.’
Bernice’s proprietary eyes raked every file, folder and item of correspondence for evidence of unauthorised tampering. ‘Forget something?’
I hastened around the desk, relinquishing the Assistant Secretary’s throne to its rightful owner. ‘I’ve got an angle for Angelo’s speech I’d like to run past you. Get your input.’ I tumbled my hands around each other, meshing my fingers like gears. ‘How about he emphasises collaboration between the arts industry and union movement?’
‘If you were qualified in any way at all for your job,’ she advised me primly, ‘you would know that the union movement enjoys extensive links with the cultural sector. The Operative Painters and Decorators have, for a number of years, been at the forefront of raising artists’ awareness of health and safety issues. Many unions have engaged artists to create works in collaboration with their members. The Building Workers’ Union had a poet-in-residence last year.’
A concrete poet, presumably. ‘Good points,’ I said eagerly. ‘Exactly the sort of thing Angelo’s speech should mention. What about those consultants you mentioned, Australasian Fine Art, do they have union affiliations?’
Another silly question. ‘It’s Austral, Murray, Austral. And a CUSS board member with extensive links to the visual arts recommended them, if that’s what you mean by union connections.’
‘Which reminds me,’ I said. ‘I’d better get the names of the board members. Make sure Angelo does the acknowledgments right.’
Bernice flicked through the CUSS file and handed me a list. The Secretary of the Trades Hall Council chaired the board. Most of the other names belonged to prominent union officials. Some of them didn’t.
‘Lloyd Eastlake,’ I read out loud. A knot formed itself in the pit of my stomach.
Bernice nodded confirmation. ‘You know him?’
‘He heads up my policy committee.’
‘In that case,’ said Bernice, ‘I don’t have to tell you what an asset he is. It was Lloyd’s idea for CUSS to get into art in the first place. Frankly, the rest of the board was lukewarm. But they soon changed their minds. Not only did Austral acquire works by blue-chip artists at very good prices, they found buyers who were prepared to pay considerably more than the works had cost us. The board was so impressed with the investment potential that it immediately upped its level of commitment. It also decided to take a long-term view, to build up the collection rather than just buy and sell on spec.’
‘So you must have quite a lot of contact with this Austral crowd? Mind if I take notes? Can I borrow a pen?’
Bernice handed me writing materials. ‘Typical,’ she clucked. I poised the pen. ‘As company secretary,’ she went on, ‘I am, of course, responsible for the overall administrative framework. But Lloyd insists-and I agree with him on this point-that he handle all direct liaison with Austral himself. That way, individual board members can’t try to push their personal tastes. You can imagine what sort of a dog’s breakfast we’d end up with if that was allowed to happen.’ Not, she felt, that there was any need for Angelo’s speech to concern itself with such detail. ‘Downplay the investment aspect. Emphasising the cultural benefits to our members would be more appropriate.’
‘I agree,’ I said. The investment aspects didn’t bear thinking about, given what I knew or suspected about the actual value of the works in the room upstairs. Novelty was about the most value they could claim. ‘By the way,’ I asked. ‘How was the ultrasound?’
Bernice’s hand went into her bag like a shot. ‘See for yourself.’ She handed me what appeared to be a polaroid photograph of meteorological conditions over Baffin Bay taken through the screen door of a low-flying satellite during a lunar eclipse.
‘A boy,’ I guessed, pointing to what looked like an isthmus extending into the north-west quadrant.
Bernice radiated ambivalent pride. ‘Sometimes you surprise me, Murray.’
There were plenty more surprises in store for Bernice Kaufman before her bonny bouncing little numbers man was dragged screaming into the delivery room. But she wouldn’t be hearing them from me. Not right away. Not until I’d had a chance to ponder the meaning of the amazing information the past hour had brought to light. ‘Thanks, Bernice,’ I said. ‘You’ve been incredibly helpful.’
For a brief moment, Bernice’s insurgent maternal hormones escaped into her voice box. ‘Anytime, Murray,’ she sighed wearily. ‘Now piss off. I’ve got work to do.’
Pocketing Bernice’s cheap ballpoint pen, I backed out the door and headed downstairs, deep in thought.
Arts was supposed to be a cushy posting. Everybody knew that, for all of Ken Sproule’s talk about the culture vultures ripping your flesh. Freebies to the opera and holding the minister’s hand at gala soirees were supposed to be the name of the game. Not Spider Webb, dead bodies, police investigations, missing pictures and forgery rackets.
Was it really possible that Lloyd Eastlake knew the paintings in the CUSS collection were fakes? Surely not. A measly half a million dollars worth of pictures was small beer compared with the sort of dough he handled every day at Obelisk Trust. He had too much at stake to engage in such risky business, even if he was that way inclined.