I was enjoying an aperitif at the outdoor terrace of the Café Deux Maggots when a series of loud blasts of an automobile horn interrupted the evening calm. While Alain Bertier was not the sole person in Paris who possessed a ‘La Cucaracha’ claxon, I doubt if anybody other than he would repeat such a frivolity five times. Double-parking his Peugeot convertible, he charged over to where I was seated.
“So that’s how you spend my money,” he said.
He sat down and ordered a double-vodka. He asked for a bowl of peanuts. ‘Bring some almonds too,’ he said, ‘and pistachios if you have them.’ What else could the house provide? Gruyere cheese? Parma Ham? Bertier was never modest when someone else was footing the bill,
“It’s the least you can do,” he said. “That was my money you won this afternoon.”
“When am I going to see it?” I asked.
“Never. I am going to win it back this evening.”
“How’s the art and antique business coming along?” I inquired.
Bertier grinned from ear to ear. “I’m making a fortune.”
“Perhaps you could help a painter friend of mine,” I said.
“I do not deal in contemporary art.”
“What if he has a Rembrandt to sell?”
“Nothing could interest me less.”
“You mean you would turn down a few million dollars?”
“Even if he - or you - had one, I wouldn’t bother with it."
“Why not?”
“That’s not my period.”
The waiter appeared. Before he could set the food on our table, Alain grabbed at the olives and almonds. At the entrance to the Saint Germain des Pres Metro, a mime clad in a white robe stood still as a statue.
“How does he do it?” said Bertier.
“Training,” I said.
“At one time I wanted to go into show business. I was with a troop of actors. That’s how I learned to speak English. We were going to perform at the American airbase at Orly.”
“What happened?”
“It took too long. I went into my own racket instead.”
“And you became ‘Le Grand Bertier’?”
“Le Grand Bertier,” said a voice behind us. “Just the man I want to see.”
Alain looked at his watch. “You’re late, Kruger.”
“Tell me, pal. Did you ever try to drive into Paris on a Friday evening?”
“Where’s the horse?”
“I dropped it off at your house.”
“Why did you do that?”
“Do you expect me to carry a forty pound bronze all over town?”
“I won’t give you a centime until I see it,” said Bertier.
“Fine with me. Rendezvous at your place in ten minutes?”
“Is that how long it takes you in a Porsche? I’ll be there in five.”
“In that dump truck of yours?”
“One hundred francs says I beat you,”
“It’s a bet. I’ll give you half a block.”
I sat next to Bertier. With a blast of ‘La Cucaracha,’ he floored the accelerator. Unconcerned by pedestrians or traffic lights, he was soon driving at seventy miles an hour. Kruger stayed on his tail. Try as he might, Bertier could not shake him off. The two drivers wove in and out of traffic, indifferent to the angry shouts of other motorists. Immediately before the Rue de Seine, Kruger’s low-slung sport’s car roared past Bertier’s Peugeot. In the blink of an eye, the Porsche reached the Rue Saint Sulpice and turned out of sight.
“God damn Alsatian!” said Bertier. “I’ll have to take the long way around.”
“Slow down, you maniac,” I said. “Can’t you see he has the faster car?”
Bertier sped past the intersection where Kruger had turned. Racing up the Rue de Tournon, he was soon opposite the Palais Luxembourg. Visibly upset, he paid no attention to my pleas to slow down. Stationed in front of the French Senate, a gendarme made a motion for him to pull over. Ignoring him, Bertier turned onto the Rue Vaugirard, raced across the heavily trafficked Rue de Rennes and continued down the nearly empty Rue Saint Placide. As the speedometer moved all the way to the right, I closed my eyes. Not until Bertier reached his apartment building did I dare open them. Kruger was leaning against his Porsche, pretending to polish his fingernails.
“What took you so long?” he said.
“Come back next week. I’ll bet you a thousand I win.”
“I’ll take one hundred francs right now,” said Kruger.
Madame Bertier was waiting at the entrance of the couple’s apartment. A small, plump woman, her mousy brown hair was set in a pageboy cut, the front of which was highlighted by a streak of blonde.
“What’s all that noise, Alain Bertier?” she said in a scolding voice. “I can hear you a block away.”
“Don’t be a pain, Cherie. I just lost one hundred francs.”
With a frown of resignation, he placed a bill into the Alsatian’s outstretched hand. Suddenly his mood changed. Standing in a corner, a polished bronze horse reflected the light from an overhead lamp.
“Nice,” he said. “Not the top of the line, but nice enough.”
“Don’t try any of your tricks on me,” said Kruger. “I had to drive from Strasbourg to Colmar to find this beauty.”
“That’s the same story you gave me last time.”
“Have it your way. Maybe I should bring it to Mister Filer.”
Bertier grimaced. The American dealer, Tom Filer was his chief competitor.
“How much?” he asked.
“Twenty-five thousand.”
“The man is deranged. I’ll give you fifteen.”
“Are you crazy? Look at that patina.”
“Okay, make it sixteen.”
“No way,” said Kruger. “Twenty-two thousand is my last price. Only because it’s you.”
“Eighteen,” said Alain. “I’m grossly overpaying.”
They settled on twenty thousand francs. Kruger got up to leave. The sound of a hissing kettle came from the kitchen.
“Coffee anyone?” asked Claire. “Alain Bertier, isn’t it about time you shaved?”
“No thanks,” said Kruger. “I’ve got a long drive home. Thanks for the hundred francs, pal.”
“Just wait till next time. I’m getting a new car tomorrow.”
“What’s this about a new car, Bertier?” said Claire. “We are overdrawn at the bank as it is.”
“You take care of the house, Cherie, I’ll take care of the bank.”
Alain picked up the ringing telephone.
“Really?” he said. “Right away. You, Bill, let’s get moving. Marcel Lasalle has a painting I want to see.”
“You are not going out again, Alain Bertier,” said Claire.
“Who is Marcel Lasalle?” I asked.
“A dealer. He’s got a good eye.”
“Did you hear me, Bertier?” said Claire.
“Don’t worry, Cherie. I’ll be home in less than an hour.”
“Where is your wife, Billy?”
“Visiting her mother in Germany.”
“You are not playing poker tonight, Alain Bertier?”
“Of course not, Cherie. I’ll be home after I look at that painting.”
Bertier honked out ‘La Cucaracha’ several times on the way to Marcel Lasalle’s. Driving nearly as fast as he had in the race with Kruger, he traversed the Place de la Concorde, crossed the Avenue de l’Opera and drove by the Paris Bourse. In this part of town the nocturnal sidewalks were nearly empty. Bertier narrowly missed sideswiping a truck before he pulled into a side street and parked in front of a driveway.
Marcel Lasalle lived above his tiny shop just off the Rue Montmartre. Dressed in gray slacks and a black sweater, a lock of hair fell onto his forehead. In his hands he held a portrait of a woman playing a stringed instrument.
“It’s an early Tamara de Lampicka,” he said. “1929 or 1930.”
“Who was she?” asked Alain.
“Not was, is. A Polish woman, she married a Russian. She and her husband came to France at the time of the Bolshevik Revolution. She must be seventy-five or eighty now. She was very popular in the 1930s. Prices for her paintings are bound to soar.”
“How much do you want?”
“Fifty thousand francs.”
Alain looked out the window. Slowly, he reached into his right front pocket. Without haggling, he paid Lasalle the equivalent of ten thousand dollars.
Bertier threw the painting onto the rear seat of his car. Scarcely exchanging a word, we drove across town to Jean-Paul Alphand’s house where our evening poker game was due to commence. For a change, the art dealer was driving slowly.
“Marcel is right,” he uttered in a low voice. “Her prices can only go up.”
“Why didn’t you bargain?” I asked.
“That, my friend, is a trade secret.”
“What does a Tamara de Lampicka painting usually sell for?”
“I have no idea.”
“You mean you paid all that money for a picture by an artist about whom you know nothing?”
Bertier remained silent. His thoughts were far away.
Today, more than thirty years later, Tamara de Lampicka is considered an important figure in Art Deco painting. A portrait achieved while she was a struggling young artist might sell for over one million dollars. As usual, Bertier’s instincts proved correct. Not that they stopped him from selling the painting several years later. He was satisfied to receive a twenty-fold return on his investment. Besides, his tastes had changed. By the time he sold the painting he no longer considered Mlle Lampicka a first-rate artist.
“It is pleasant decoration, but not great art,” he said.
Very likely his opinion was influenced by the many false Tamara de Lampicka paintings, and the countless reproductions flooding the market, some, no doubt, commissioned by Alain Bertier himself.
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