The Rembrandt Affair

ACKNOWLEDGMENTS

This novel, like the previous books in the Gabriel Allon series, could not have been written without the assistance of David Bull, who truly is among the finest art restorers in the world. Usually, David advises me on how to clean paintings. This time, however, he assisted me in devising a plausible method for hiding a secret inside one. The technique known as a blind canvas is rarely used by modern restorers, though it turned out to be perfect for the task at hand. Also, I will forever be indebted to the brilliant Patrick Matthiesen, who instructed me in the sometimes wicked ways of the art world and helped to inspire one of my favorite characters in the series. Rest assured Patrick has few things in common with Julian Isherwood other than his passion for art, his sense of humor, and his boundless generosity.

Several Israeli and American officials spoke to me on background, and I thank them now in anonymity, which is how they would prefer it. Roger and Laura Cressey tutored me on American anti-proliferation efforts and helped me to better understand the ways of Washington's sprawling national security structure. A very special thanks to M, who taught me how to "own" a mobile phone or laptop computer. I don't think I will ever think of my smart phone in quite the same way, and neither should anyone else for that matter.

Anna Rubin, director of the New York State Banking Department's Holocaust Claims Processing Office, spoke with me about restitution issues and provenance searches. Peter Buijs taught me how to use the databases of the Jewish Historical Museum in Amsterdam while Sarah Feirabend of the Hollandsche Schouwburg memorial answered some final questions on the theater's terrible history. Sarah Bloomfield and Fred Zeidman, my colleagues at the United States Holocaust Memorial Museum in Washington, D.C., were a source of constant inspiration and encouragement. As always, I stand in awe of those who dedicate their lives to preserving the memory of the six million lost to the fires of the Shoah.

Yoav Oren gave me a terrifying tutorial in Krav Maga, though somehow he managed to make it look less like a lethal form of martial arts and more like ballet. Gerald Malone advised me on the wiretapping authority of the British government and provided much-needed laughter. Aline and Hank Day graciously allowed me to stage yet another high-level intelligence conference at their beautiful home. Marguerita and Andrew Pate made the twelve-hour flight to Argentina so Gabriel wouldn't have to.

I consulted hundreds of books, newspaper and magazine articles, and websites while preparing this manuscript, far too many to name here. I would be remiss, however, if I did not mention the extraordinary scholarship and reporting of Jacob Presser, Deborah Dwork, Diane L. Wolf, Jean Ziegler, Isabel Vincent, Tom Bower, Martin Dean, Lynn H. Nicholas, David Cesarani, Uki Goni, Steve Coll, and David Albright. David E. Sanger and William J. Broad of the New York Times have done an exemplary job of covering Iran's seemingly unstoppable march toward a nuclear weapon, and their learned, well-reported articles were an invaluable resource. So, too, were the authoritative reports issued by the Institute for Science and International Security and the Wisconsin Project on Nuclear Arms Control.

A special thanks to the National Gallery in London. Also, to the staffs of the Hotel de l'Europe in Amsterdam, the Hotel de Crillon in Paris, and the Grand Hotel Kempinski in Geneva for taking good care of my family and me while I was conducting my research. Deepest apologies for running an intelligence operation from the rooms of the Kempinski without management's permission, but given the time constraints, it wasn't possible to make other arrangements. Habitues of Geneva probably know it would not be possible to see the fictional home of Martin Landesmann from even the upper floors of the Hotel Metropole. It was one of many liberties I granted myself.

Louis Toscano, my dear friend and personal editor, made many improvements to the manuscript, as did my copy editor, Kathy Crosby. Obviously, responsibility for any mistakes or typographical errors that find their way into the finished book falls on my shoulders, not theirs. A special thanks to the remarkable team at Putnam, especially Ivan Held, Marilyn Ducksworth, Dick Heffernan, Leslie Gelbman, Kara Welsh, David Shanks, Meredith Phebus Dros, Kate Stark, Stephanie Sorensen, Katie McKee, Stephany Perez, Samantha Wolf, and Victoria Comella. Also, to Sloan Harris, for his grace and professionalism.

We are blessed with many friends who fill our lives with love and laughter at critical junctures during the writing year, especially Sally and Michael Oren, Angelique and Jim Bell, Joy and Jim Zorn, Nancy Dubuc and Michael Kizilbash, Elliott and Sloan Walker, Robyn and Charles Krauthammer, Elsa and Bob Woodward, Rachel and Elliott Abrams, Andrea and Tim Collins, Betsey and Andy Lack, Mirella and Dani Levinas, Derry Noyes and Greg Craig, Mariella and Michael Trager, and Susan and Terry O'Connor.

I am deeply indebted to my children, Lily and Nicholas, who spent much of last August on a research trip that stretched from the glaciers of Les Diablerets to the cliffs of Cornwall. They helped me to steal priceless works of art from Europe's finest museums, fictitiously of course, and listened patiently while I conceived and discarded several different versions of the plot, usually during yet another endless train ride. Finally, my wife, Jamie Gangel, helped me find the essence of the story when it eluded me and skillfully edited the pile of paper I euphemistically refer to as a "first draft." Were it not for her patience, attention to detail, and forbearance, The Rembrandt Affair would not have been completed before its deadline. My debt to her is immeasurable, as is my love.