Her Serene Highness: A Novel

On the top floor of Grafton’s house, in Michigan Avenue, there was a room filled with what he called “the sins of the fathers”--the bad pictures and statuary come down from two generations of more or less misdirected enthusiasm for art. In old age his father had begun this collection; forty years of dogged pursuit of good taste taught him much. Grafton completed it as soon as he came into possession.

In him a Grafton at last combined right instinct and right judgment. Although he was not yet thirty, every picture dealer of note in America and Europe knew him, and he knew not only them but also a multitude of small dealers with whom he carefully kept himself unknown. He was no mere picture buyer. The pretentious plutocrats of that class excited in him contempt--and resentment. How often had one of them destroyed, with a coarse fling of a moneybag, his subtle plans to capture a remarkable old picture at a small price. For he was a true collector--he knew pictures, he knew where they were to be found, he knew how to lie in wait patiently, how to search secretly. And no small part of his pride in his acquisitions came from what they represented as exhibits of his skill as a collector.

A few months before his father died they were in New York and went together to see the collection of that famous plutocratic wholesale picture buyer, Henry Acton.

“Do you see the young Spaniard over there?” said the father, pointing to one of the best-placed pictures in the room.

The son looked at it and was at once struck by the boldness, the imagination with which it was painted. “Acton has it credited to Velasquez,” he said. “It does look something like Velasquez, but it isn’t, I’m certain.”

“That picture was one of my costly mistakes,” continued the elder Grafton. “I bought it as a Velasquez. I was completely taken in--paid eleven thousand dollars for it in Paris about twenty-five years ago. But I soon found out what I’d done. How the critics did laugh at me! When the noise quieted down I sold it. It was shipped back to Paris and they palmed it off on Acton.”

Just then Acton joined them. “We were talking of your Velasquez there,” said the elder Grafton.

Acton grew red--the mention of that picture always put him angrily on the defensive. “Yes; it is a Velasquez. These ignorant critics say it isn’t, but I know a Velasquez when I see one. And I know Velasquez painted that face, or it wasn’t painted. It’ll hang there as a Velasquez while I live, and when I die it’ll hang in the Metropolitan Museum as a Velasquez. If they try to catalogue it any other way they lose my whole collection.”

While Acton was talking the younger Grafton was absorbed in the picture. The longer he looked the more he admired. He cared for pictures as well as for names, and he saw that this portrait was from a master-hand--the unknown painter had expressed through the features of that one face the whole of the Spaniard in the Middle Ages. He felt it was a reflection upon the name of Grafton that such a work of genius had been cast out obviously because a Grafton could appreciate only names. He said nothing to his father, but then and there made up his mind that he would have that picture back.

Apparently there was no hope. But he was not discouraged; patience and tenacity were the main factors in his temperament.

While he was sick with typhoid fever at a New York hotel Acton got into financial difficulties and was forced to “realize” on all his personal property. His pictures were hurriedly sent to the auctioneer. Grafton, a few days past the crisis in his illness, heard the news at nine o’clock in the evening of the third and last day of the sale. He leaped from bed and ordered the nurse to help him dress. He brushed aside protests and pleadings and warnings. They went together to Mendelssohn Hall. Grafton made the driver gallop the horses. He rushed in; his Spaniard was on the easel.

“How much is bid?” he called out.

Everybody looked round, and the auctioneer replied, “It’s just been sold.”

There was a laugh, Grafton looked so wild and strange. Leaning on the arm of the nurse he went to the settlement desk. “To whom was that picture sold?” he said to the clerk.

“On a cable from Paris, Mr. Grafton,” interrupted one of the members of the auction firm. “We’ve had a standing order from Candace Brothers for five years to let them know if the picture came or was likely to come into the market. And they’ve cabled every six months to remind us. When Mr. Acton decided to sell, we sent word. They ordered us to buy, with fifteen thousand dollars as the limit.”

Grafton was furious; he would gladly have paid twenty. “And what did it go for?” he asked.

“Seventeen hundred,” replied the dealer. “Everybody was suspicious of it. We would have got it for five hundred, if it hadn’t been for an artist; he bid it up to his limit.”

“I must sit,” said Grafton to his nurse. “This is too much--too much.”

He was little the worse for his imprudence, and was able to sail on the steamer that carried the picture. He beat it to Paris, and went at once to Candace Brothers, strolling in as if he had no purpose beyond killing time by looking about. He slowly led the conversation round to a point where Louis Candace, to whom he was talking, would naturally begin to think of the Acton sale.

“We’re getting in several pictures from New York,” said Candace--“from the Acton sale.”

“I was ill while it was on,” said Grafton, carelessly. “What did you take?”

“A Rousseau, a Corot, a Wyant, and a--Velasquez.” He hesitated before speaking the last name, and looked confused as Grafton slightly elevated his eyebrows. “Of course,” he hurried on, “we strongly suspect the Velasquez; in fact, we know it’s not genuine. But we’re delighted to get it.”

“I don’t understand,” said Grafton. “I know you too well to suspect that it will be sold as a Velasquez.”

“But certainly not. Even if we did that sort of thing, we couldn’t deceive any of your rich countrymen or any of the English with it. The story is too well known. No; we bought it for His Royal Highness the Grand Duke of Zweitenbourg. It is--or he thinks it is--a portrait of one of his Spanish ancestors. His agent tells me that it is the only known work of a remarkable young Spaniard who was soon afterwards killed at the siege of Barcelona, early in the eighteenth century. They are not even sure of his name. The Grand Duke was most anxious to get it. For years we have been sending him semiannual bulletins on Monsieur Acton’s health and financial condition.”

Grafton’s heart sank. Here was a true collector--a past-master of the art. “If I hadn’t been a mere novice,” thought Grafton, “I, too, would have had bulletins on Acton, and a standing order. As it is, my trouble has only begun,” for, being himself a true collector, with all the fatalism of the collector’s temperament, he was not despairing, was only the more resolute in face of these new difficulties.

“His Royal Highness,” continued Candace, “wants the picture because it fills one of the gaps in his gallery of ancestral portraits.” Under skilful questioning, Candace yielded the further information that the keeper of the Grand Duke’s privy purse, Baron Zeppstein, would arrive the following Thursday personally to escort the picture to Zweitenbourg.

It reached Paris on Tuesday, and Grafton took Jack Campbell, whom he found at the Ritz, round to Candace’s on Wednesday morning. Campbell, having been thoroughly coached, made offers for several pictures, all too low, then pretended to fall in love with the Spaniard. He insisted that it was a Velasquez--Grafton seemed to be disgusted with him, somewhat ashamed of him. When Candace told him that the picture was sold, he had them send a telegram to the Grand Duke offering eight thousand dollars for it. A curt refusal to sell at any price came a few hours later.

Campbell and Grafton were there the next morning when Baron Zeppstein came. As he was voluble, and appreciative of the rare pleasure of an attentive listener, Grafton rapidly ingratiated himself, and soon had him flowing on the subject of “my royal master.”

“His Royal Highness has two passions,” said the Baron, “Americans and his pictures. You Americans are making astonishing--I may say appalling--inroads in Germany; your ideas are getting even into the heads of our women, our girls. I don’t like it; I don’t like it. It’s breeding a race of thinking women. I can’t endure a thinking woman. You can’t imagine what I’m suffering just now through Her Serene Highness; but no matter. Your terrible democratic ideas of disrespect for tradition, for institutions, for restraints, are slipping about even in the palaces of our kings. His Royal Highness--the story goes that he was in love with one of your beautiful countrywomen and that she refused to marry him; she did marry his brother, Duke Wolfgang--morganatically, of course. It would be impossible for one of the house of Traubenheim to marry a commoner in the regular way. Your American invasion hasn’t extended that far--”

“And the pictures?” interrupted Grafton, impatient of the digression.

“Ah--yes--_there_ His Royal Highness has a high enthusiasm, a noble passion. He is positively mad about Rembrandts. He has a notable collection of them, and is always trying to add to it.”

Grafton’s eyes dropped; he feared that this simple old Zweitenbourgian might read his thoughts. “Rembrandts?” he said. “That interests me. I have the same craze in a small way.” And he drew the Baron on. He learned that a Rembrandt filled the Grand Duke with the same burning longing for possession with which his craze, the spurious Velasquez, was now filling him. He began to see victory. He cabled his Chicago agent to send him forthwith, in care of Candace Brothers, his two examples of Rembrandt’s early work. When he was a boy, travelling about with his father, he had found them in an obscure shop in Leyden. They now interested him little except as reminders of an early triumph. But to a collector of Rembrandts they would be treasures.

A few days after sending the cable he went in the morning with Mrs. Campbell to Paquin’s--Mrs. Campbell was at Paris for her annual shopping. She was to be fitted for six dresses, she explained, and that meant an hour--perhaps two or three hours. But Grafton was so attracted by the scene that he said he would wait, at least until he was tired. He seated himself on the sofa against the wall, near the door. It was in line with the passage-way into which the fitting-salons open.

The general room was crowded with women--women in the fashions of the day preparing for the fashions of the morrow; girls--the pretty, graceful, polite dressmakers’ assistants famed in Parisian song and story--persuading, soothing, cajoling, flattering. There were a few men, all of them fitters except two. The exceptions were Grafton, trying to efface himself, and Paquin, trying to escape. He had come forth at the request of a customer important enough to be worthy of personal attention, but not important enough to be admitted to the honor of his private consultation-room. The women had seized him and, regardless of his bored and absent expression and speech, were swarming about him, impeding his retreat.