In Witham’s latest mystery in a series, private investigator Julian Peale looks into the mysterious death of a rising young artist and discovers a web of criminal conspiracy.
Massachusetts Institute of Technology student Colleen Mason is shocked when she discovers that her estranged older brother, Sam, a 28-year-old painter, had died suddenly due to an overdose,according to authorities. She’s also astonished to learn that he is widely considered to have been a creative genius, and that many art dealers are eager to locate his work, which seems to have simply vanished. Colleen refuses to believe that Sam died by accident, or by suicide; in fact, she’s sure that he was murdered, and she hires Julian, a PI with a specialty in art crimes, to dig deeper. He soon learns that Sam was promoted by Curator Services, a dubious outfit that runs “vanity operations” for artists, manufacturing public impressions that their works are in great demand—a “borderline criminal” scheme of Victor Kamin and Max Dunnaway, who have ties to Albanian organized crime. Monica Smithton, a Boston-based art dealer looking for Sam’s work, has similar ties, although she labors to keep them concealed. In this enthralling whodunit, Witham takes the reader on a gripping tour of the “shifty parts of the art world.” As Trisha Donnally, the talent scout who originally found Sam, puts it: “I guess I knew there were two sides, or many sides, to the art world, one dark and one light.” The novel adeptly creates an atmosphere of violent menace in which a young, idealist painter with openminded beliefs—Sam was fascinated by the occult and “a mysterious beyond that influences creativity”—falls prey to cynical jackals. The plot is complex but never convoluted, and for all its intelligence and nuance, it moves at an entertainingly brisk pace. Overall, it’s a delightful, thoughtful, and quietly powerful read for anyone who loves art and crime dramas.
An exceedingly intelligent private-eye tale that offers a peek into the darker corners of art-world commerce.