A forged antiquity has to appear properly aged, so the forger has to make it look a thousand years old in a matter of weeks or months. Thatâs where many stone forgers trip upâthe artists canât get that thin coating on the piece exactly right. At least in terms of coloring, we can see your piece has the right look.â
âWas there anything you saw in the pictures that suggested it wasnât created with ancient tools?â
âThe artist could have used iron tools not much different than the ones used for eons.â
I knew there were no obvious signs of modern tools but I was still picking his brain. âSo basically, if it turns out the sandstone itself is from a quarry where it should have originated from, and the workmanship is on par with the craftsmen of the Khmer Empire, then the patina is what we should concentrate on.â
âBut even thatâs not a sure bet. Weathering causes an erosion layer at the surface that can vary from less than a millimeter up to several centimeters deep. Sometimes the environment deletes layers rather than adds them. It gets even more complicated because tomb looters sometimes clean pieces, wiping away a couple thousand years of aging, because theyâre under the erroneous impression that a piece is more valuable clean than in its natural state.â
He was seeing me out when I noticed several small art pieces on a high shelfâa bronze of the monkey general Hanuman who rescued Ramaâs wife, a sandstone Buddha sitting on a wide-back chair made of a coiled cobra with fanning head, and a sandstone linga, a phallic symbol of fertility often identified with the god Siva.
âThe lingaâs Indian,â he said, âbut the monkey general and the Buddha on the naga, the cobra, are Khmer, based on Hindu mythology. Reproductions, but I wish they were real. A foolish collector paid ten thousand for the monkey king in Hong Kong. It took me about thirty seconds to tell him it was a fake. The patina came off on my fingers when I wet it and rubbed it. He left in disgust and didnât pay me. I guess he thought leaving an expensive fraud was payment enough.â
âI just remembered something. There was some kind of marking on the back of the Apsaras relief.â
âWhat kind of marking?â
âIâm not positive, but it looked a little like a half-moon.â
Bolger stared at me.
âHave you seen the mark before?â I asked.
âNo, of course not. It could be anything. Are you going to take my advice and walk away from this thing?â
âI donât know what Iâm going to do. Iâm thinking about going to that café where Sammy works.â
He shook his head. âYou didnât listen to anything I said about how ruthless these people are. Thereâs no guarantee your friend Sammy even still has the piece. Hell, Maddy, thereâs no guarantee Sammy is still breathing. They call double-crossers like Sammy âfish foodâ in the Far East. Thatâs what they become after theyâre chopped up and the pieces are tossed into the sea.â
âI know, I know. To be honest, I feel like Iâm spinning in circles. I canât stand the idea of Sammy and a gang of antiquity thugs smashing works of the ages. And Iâm wondering if there isnât something in it for me.â I smiled. âMaybe the gods were telling me something when they sent Sammy to my door.â
âAnd maybe they were testing your naïveté. Wasnât your experience with Iraqi looters enough for you? Look what it cost you. This time it may be your life.â
âThatâs not fair. I lost my job because I wouldnât stand by and let a cultural treasure be lost to the Iraqi people.â
âItâs your life. Just watch yourself.â
âIâll be careful.â
Famous last words.
7
Bangkok, Thailand, a week earlier
Taksin moved through the Thieves Market in the
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