The Rembrandt Affair (9 page)

19

AMSTERDAM

W
hat followed was the confession of Lena Herzfeld. Her transgression had started as a minor act of disobedience committed by a desperate child who simply wanted to touch the snow. She had not planned the adventure. In fact, to this day she did not know what woke her in the early-morning hours of February 12, 1943, or what prompted her to rise quietly from her bed and descend the ladder from the attic. She remembered the hall had been in complete darkness. Even so, she had no trouble finding her way to the bathroom. She had taken those same seven steps, twice each day, for the past five months. Those seven steps had constituted her only form of exercise. Her only break from the monotony of the attic. And her only chance to see the outside world.

"There was a window next to the basin. It was small and round and overlooked the rear garden. Mrs. de Graaf insisted the curtain be kept closed whenever we entered."

"But you opened it against her wishes?"

"From time to time." A pause, then, "I was only a child."

"I know, Lena," Gabriel said, his tone forgiving. "Tell me what you saw."

"I saw fresh snow glowing in the moonlight. I saw the stars." She looked at Gabriel. "I'm sure it seems terribly ordinary to you now, but to a child who had been locked in an attic for five months it was..."

"Irresistible?"

"It seemed like heaven. A small corner of heaven, but heaven nonetheless. I wanted to touch the snow. I wanted to see the stars. And part of me wanted to look God directly in the eye and ask Him why He had done this to us."

She scrutinized Gabriel as if calculating whether this stranger who had appeared on her doorstep was truly a worthy recipient of such a memory.

"You were born in Israel?" she asked.

He answered not as Gideon Argov but as himself.

"I was born in an agricultural settlement in the Valley of Jezreel."

"And your parents?"

"My father's family came from Munich. My mother was born in Berlin. She was deported to Auschwitz in 1942. Her parents were gassed upon arrival, but she managed to survive until the end. She was marched out in January 1945."

"The Death March? My God, but she must have been a remarkable woman to survive such an ordeal." She looked at him for a moment, then asked, "What did she tell you?"

"My mother never spoke of it, not even to me."

Lena gave a perceptive nod. Then, after another long pause, she described how she stole silently down the stairs of the de Graaf house and slipped outside into the garden. She was wearing no shoes, and the snow was very cold against her stockinged feet. It didn't matter; it felt wonderful. She grabbed snow by the handful and breathed deeply of the freezing air until her throat began to burn. She spread her arms wide and began to twirl, so that the stars and the sky moved like a kaleidoscope. She twirled and twirled until her head began to spin.

"It was then I noticed the face in the window of the house next door. She looked frightened--truly frightened. I can only imagine how I must have looked to her. Like a pale gray ghost. Like a creature from another world. I obeyed my first instinct, which was to run back inside. But I'm afraid that probably compounded my mistake. If I'd managed to react calmly, it's possible she might have thought I was one of the de Graaf children. But by running, I betrayed myself and the rest of my family. It was like shouting at the top of my lungs that I was a Jew in hiding. I might as well have been wearing my yellow star."

"Did you tell your parents what had happened?"

"I wanted to, but I was too afraid. I just lay on my blanket and waited. After a few hours, Mrs. de Graaf brought us our basin of fresh water, and I knew we had survived the night."

The remainder of the day proceeded much like the one hundred and fifty-five that had come before it. They washed to the best of their ability. They were given a bit of food to eat. They made two trips each to the toilet. On her second trip, Lena was tempted to peer out the window into the garden to see if her footprints were still visible in the snow. Instead, she walked the seven steps back to the ladder and returned to the darkness.

That night was Shabbat. Speaking in whispers, the Herzfeld family recited the three blessings--even though they had no candles, no bread, and no wine--and prayed that God would protect them for another week. A few minutes later, the
razzias
started up: German boots on cobblestone streets, Schalkhaarders shouting out commands in Dutch.

"Usually, the raiding parties would pass us by, and the sound would grow fainter. But not that night. On that night the sound grew louder and louder until the entire house began to shake. I knew they were coming for us. I was the only one who knew."

20

AMSTERDAM

L
ena Herzfeld lapsed into a prolonged, exhausted silence. Gabriel could see that in her mind a door had closed. On one side was an old woman living alone in Amsterdam; on the other, a child who had mistakenly betrayed her family. Gabriel suggested they stop for the night. And a part of him wondered whether to continue at all. For what purpose? For a painting that was probably lost forever? But much to his surprise, it was Lena who insisted on pressing forward, Lena who demanded to tell the rest of the story. Not for the sake of the Rembrandt, she assured him, but for herself. She needed to explain how severely she had been punished for those few stolen moments in the garden. And she needed to atone. And so, for the first time in her life, she described how her family had been dragged from the attic under the shamed gaze of the de Graaf children. And how they were taken by truck to, of all places, the Hollandsche Schouwburg, once the most glamorous theater in Amsterdam.

"The Germans had turned it into a detention center for captured Jews. It was nothing like I remembered, of course. The seats had been removed from the orchestra, the chandeliers had been ripped from the ceiling, and there were ropes hanging like nooses above what was left of the stage."

Her memories were something from a nightmare. Memories of laughing Schalkhaarders swapping stories about the evening's hunt. Memories of a young boy who'd attempted to flee and was beaten senseless. Memories of a dozen elderly men and women who had been pulled from their beds at a home for the aged and were seated calmly in their frayed nightgowns as if waiting for the performance to begin. And memories, too, of a tall man dressed entirely in black striding godlike across the stage, a portrait by Rembrandt in one hand, a sack of diamonds in the other.

"The man was SS?"

"Yes."

"Were you ever told his name?"

She hesitated. "I learned it later, but I will not say it."

Gabriel gave a placatory nod. Lena closed her eyes and continued. What she remembered most about him, she said, was the smell of leather rising from his freshly polished boots. His eyes were deep brown, the hair dark and richly oiled, the skin sallow and bloodless. His manner was aristocratic and shockingly courteous.

"This was no village bumpkin in a nice uniform. This was a man from a good family. A man from the upper reaches of German society. Initially, he spoke to my father in excellent Dutch. Then, after establishing that my father spoke German, he switched."

"Did you speak German?"

"A little."

"Were you able to understand what was happening?"

"Bits and pieces. The SS man scolded my father for having violated the decrees concerning Jewish financial assets and valuables such as jewelry and works of art. He then informed my father that both the diamonds and the Rembrandt would have to be confiscated before our deportation to the labor camps. But there was just one thing he required first. He wanted my father to sign a piece of paper."

"A forfeiture document?"

She shook her head. "A bill of sale, not for the diamonds, only for the Rembrandt. He wanted my father to
sell
him the painting. The price would be one hundred guilders--payable at a future date, of course. One hundred guilders...less than the Jew hunters earned on a good night of roundups."

"You saw the actual contract?"

She hesitated, then nodded slowly. "The Germans were precise in all things, and paperwork was very important to them. They recorded everything. The number of people murdered each day in the gas chambers. The number of shoes left behind. The weight of the gold wrenched from the dead before they were thrown into the crematoria."

Again Lena's voice trailed off, and for a moment Gabriel feared she was lost to them. But she quickly composed herself and continued. Tonight, Lena Herzfeld had chosen Gabriel and Chiara to hear her testimony. Tonight there was no turning back.

"Only later did I understand why the SS man required my father's signature. Stealing a bag of diamonds was one thing. But stealing a painting, especially a Rembrandt, was quite another. Isn't it ironic? They killed six million people, but he wanted a bill of sale for my father's Rembrandt--a piece of paper so he could claim he had acquired it legally."

"What did your father do?"

"He refused. Even now, I cannot imagine where he found the courage. He told the SS man that he had no illusions about the fate that awaited us and that under no circumstances would he sign anything. The SS man seemed quite startled. I don't think a Jew had dared to speak to him like that in a very long time."

"Did he threaten your father?"

"Actually, quite the opposite. For a moment, he seemed stumped. Then he looked down at Rachel and me and smiled. He said the labor camps were no place for children. He said he had a solution. A trade. Two lives for one painting. If my father signed the bill of sale, Rachel and I would be allowed to go free. At first, my father resisted, but my mother convinced him there was no choice. At least they will have each other, she said. Eventually, my father capitulated, and signed the papers. There were two copies, one for him, one for the SS man."

Lena's eyes shone suddenly with tears, and her hands began to tremble, not with sadness but with anger.

"But once the monster had what he wanted, he changed his mind. He said he had misspoken. He said he could not take
two
children, only one. Then he pointed at me and said, 'That one. The one with the blond hair and blue eyes.' It was my sentence."

The SS man instructed the Herzfeld family to say its last good-byes.
And be quick about it,
he added, his voice full of false cordiality. Lena's mother and sister wept as they embraced a final time, but her father managed to maintain an outward composure. Holding Lena close, he whispered that he would love her forever and that someday soon they would all be together again. Then Lena felt her father place something in her coat pocket. A few seconds later, the monster was leading her out of the theater.
Just keep walking, Miss Herzfeld,
he was saying.
And whatever you do, don't look back. If you look back, even once, I'll put you on the train, too
.

"And what do you think I did?" she asked.

"You kept walking."

"That's correct. Miss Herzfeld kept walking. And she never looked back. Not once. And she never saw her family again. Within three weeks, they were dead. But not Miss Herzfeld. She was alive because she had blond hair. And her sister had been turned to ashes because hers was dark."

21

AMSTERDAM

L
ena Herzfeld went into hiding a second time. Her odyssey began in the building directly across the street from the theater, at Plantage Middenlaan 31. A former day-care center for working-class families, it had been turned by the Nazis into a second detention center reserved for infants and toddlers. But during the period of the deportations, several hundred small children were smuggled out in crates and potato sacks and turned over to the Dutch Resistance.

"The SS man personally walked me into the nursery and handed me over to the staff. I'm amazed he kept his word at all, but he had his painting. The war was full of such inexplicable contradictions. One moment, a heartless monster. The next, a man capable of a modicum of human decency."

Lena was spirited to Friesland in northwestern Holland in the trunk of a car and surrendered to a childless couple active in the Dutch Resistance. They gave her a new name and told neighbors she had been orphaned in the German bombing of Rotterdam in May 1940. Because they were devout Calvinists, they expected Lena to attend church services on Sunday for the sake of her cover. But inside the security of the home, she was encouraged to maintain her Jewish identity.

"You might find this difficult to understand, but I consider myself to be one of the lucky ones. Many of the children who were hidden with Christian families had dreadful experiences. But I was treated kindly and with a great deal of warmth and affection."

"And when the war ended?"

"There was no place for me to go. I stayed in Friesland until I was eighteen. Then I attended university and eventually became a teacher. I thought many times about emigrating to Israel or America. But in the end, I decided to stay. I felt it was my duty to remain in Amsterdam with the ghosts of the dead."

"Did you ever try to reclaim your family home?"

"It wasn't possible. After the war the Dutch government declared that the rights of current owners were
equal
to those of the prior Jewish owners. It meant that unless I could prove that the man who purchased our home had done so in bad faith, I couldn't dislodge him. Furthermore, I had no proof my father had ever owned the house or even proof of his death, both of which were required by law."

"And the Rembrandt?"

"I came to regard the woman in that painting as an accomplice in my family's murder. I never wanted to see her again."

"But you kept the receipt," Gabriel said.

The child of the attic fixed him with a suspicious stare.

"Isn't that what your father placed in your pocket as you were saying good-bye?"

Still she didn't answer.

"And you kept it with you in hiding, didn't you, Lena? You kept it because it was the only thing of your father's you had." Gabriel was silent for a moment. "Where's the receipt, Lena?"

"It's in the top drawer of my nightstand. I look at it every night before I go to sleep."

"Will you let me have it?"

"Why would you want such a thing?"

"Your Rembrandt is out there somewhere. And we're going to find it."

"That painting is covered in blood."

"I know, Lena. I know."