The Painting

Speaker 1: And now, Adventures and Odyssey.
Speaker 2: Knock, knock.
Speaker 3: Jason.
Speaker 1: Hello.
Speaker 4: Hi. What? A truck?
Speaker 2: Not exactly. It's what's in the truck. Voila.
Speaker 4: Boxes, crates?
Speaker 3: What is all this, Jason?
Speaker 2: Well, Dad called it a a belated wedding slash congratulations on your new business slash welcome home gift.
Speaker 3: Gift?
Speaker 2: It seems Universal Press has acquired a lot of valuables over the years, including artwork, antiques, and artifacts.
Speaker 3: That's what's in these crates, huh?
Speaker 2: Uh-huh. Dad thought it a shame to keep them locked up in a warehouse. In fact, he told me that for some time now he's toyed with the idea of opening up a museum. Well, now that you two have taken over the antique shop, Dad thought it would be the perfect place for them.
Speaker 3: I can't believe him.
Speaker 2: Does that mean you don't want it?
Speaker 4: No, of course we want it. There's just so much. It'll take us weeks just to catalog it all.
Speaker 2: Aha. And that's where the next part of your gift comes in.
Speaker 3: There's more?
Speaker 2: Oh, yes. Allow me to introduce you to your brand new temporary assistant.
Speaker 4: Assistant?
Speaker 5: Surprise.
Speaker 4: You're going to help us?
Speaker 5: Sure am. If it's okay with you that is.
Speaker 4: Of course it's okay with us.
Speaker 3: We're just overwhelmed.
Speaker 4: Completely. Thank you all so much.
Speaker 5: Well, let's get to work.
Speaker 6: It's hard to trust a lot of entertainment these days, but you can always trust Adventures and Odyssey. Every episode is packed with biblical truth your kids will understand and hang on to. Join the Adventures and Odyssey Club today at adventuresandodyssey.com.
Speaker 5: Okay. That does it for lot 1140 donated by F. McKinley.
Speaker 3: How are things going in here?
Speaker 5: Oh, great. I was just getting ready to start on the next lot. These paintings.
Speaker 4: There certainly are a lot of them.
Speaker 5: There's a lot of everything. Witte said UFF had been collecting this stuff for years.
Speaker 4: These are beautiful.
Speaker 5: Well, according to the inventory, most of them are prints.
Speaker 3: This one doesn't appear to be.
Speaker 5: Which one?
Speaker 3: This one. Of the women gathering crops.
Speaker 4: Oh, it's lovely. The colors and the brush strokes. Is this an oils?
Speaker 3: Yes, it is, but that couldn't be.
Speaker 4: Couldn't be an oils?
Speaker 3: No, no. This painting looks like a work called Gleaning at Twilight by the great French master Henri Leau.
Speaker 4: Yeah?
Speaker 3: Yeah. Was painted in the 1830s. Been missing for years, but this is a remarkable reproduction.
Speaker 4: Reproduction? How do you know it's not an original?
Speaker 3: First way would be to check the signature. Leau always signed his paintings on the bottom left corner.
Speaker 4: Uh, help me move some of these boxes, Connie, so we can get a better look.
Speaker 5: Sure. Okay, uh, bottom left, huh? No, no signature.
Speaker 4: No signature at all?
Speaker 5: Well, not that I can see.
Speaker 3: Really? May I take a look?
Speaker 5: Sure.
Speaker 4: What is it, Jack?
Speaker 3: Well, you're right, Connie. There is no signature here that you can see because it looks like it's been covered up.
Speaker 4: What?
Speaker 3: Well, the brush strokes are different down here. Someone has tampered with this painting.
Speaker 4: Are you sure?
Speaker 3: Not completely, but it does appear that way.
Speaker 5: What should we do now?
Speaker 3: We need to call in someone with more experience.
Speaker 5: Like who?
Speaker 3: Professor James Champlin at Campbell County College. I understand he's quite renowned. An expert in the field.
Speaker 4: What are you waiting for? Call him.
Speaker 5: Well, Professor Champlin?
Speaker 7: Well, Mrs. Allen, this is indeed Leau's masterwork, Gleaning at Twilight.
Speaker 3: Are you sure, Professor?
Speaker 7: Quite. I've removed the upper layer of paint, and as you can see, there is the signature. You can also tell by the style, the brush strokes, choice of colors. Yes, this is definitely a Leau. Congratulations.
Speaker 5: Thank you, Professor.
Speaker 4: This is so exciting.
Speaker 7: You know, this is a significant find. It could make your gallery world famous overnight. And I'm not without influence in the art world. If you like, I could make a few phone calls.
Speaker 3: Thank you, Professor, but we'd appreciate it if you'd keep it under your hat for the time being.
Speaker 7: As you wish, of course, but may I ask why?
Speaker 4: These works are all donated, Professor. We need to try to find the original owner and inform him or her of the find.
Speaker 3: Yes, after all, if they had known the painting was that valuable, they may not have donated it.
Speaker 7: Very well then. I I must be getting back to the college. Congratulations once again.
Speaker 3: Thank you for all your help, Professor.
Speaker 7: Anytime. Anytime I think of you.
Speaker 4: You're really going to give the painting back?
Speaker 3: If we can find out who the donor was.
Speaker 4: But this is your first major acquisition. You heard Professor Champlin. It could put the gallery on the map. Let's put it this way, Connie. How would you feel if you gave away something you thought was worthless only to find out later that it was very valuable? Wouldn't you at least like to have the opportunity to reclaim your property?
Speaker 5: Yeah, I suppose I would, but isn't the donor Witt? I mean, he's the one who gave you all this stuff.
Speaker 3: Good point.
Speaker 4: Then he's the first place we'll start. He's staying at the Drake Hotel, isn't he?
Speaker 3: I think that's what he said.
Speaker 4: Let's go make a phone call. Okay, Lass, it's all here. Thanks. Bye.
Speaker 5: Was that Witt?
Speaker 4: No, that was Lass.
Speaker 5: Lass? Lass who?
Speaker 4: Lass Hungate. He is in charge of inventory at Universal Press.
Speaker 3: We called Witt, but he didn't have any answers for us. I suggested we try Lass.
Speaker 4: Lass said everything we have here, including the paintings, was donated anonymously.
Speaker 5: Then we will be able to keep it after all.
Speaker 3: Not quite.
Speaker 4: You see, even though people make donations anonymously, the organization receiving the donation often keeps a master list of the actual donor's names for tax purposes and other reasons.
Speaker 5: And I take it Lass has such a list?
Speaker 3: Right. And when we told him about the painting, he faxed the list to us.
Speaker 4: Um, what lot number was the painting in?
Speaker 3: 1135.
Speaker 4: Uh, here we are, 1135. Oh. Who is it?
Speaker 3: Someone you may recognize. G. Winston Smith.
Speaker 7: It sounds familiar.
Speaker 3: It should. G. Winston Smith is one of the wealthiest men in the country.
Speaker 5: Wait a minute. Isn't he the one who started that big charity organization? Hand something.
Speaker 4: Hand to Hand Incorporated out of Chicago. It's one of the largest charitable organizations in the country.
Speaker 5: Then he probably doesn't want the painting back. I mean, if he's into charity, then he likes giving things away, right?
Speaker 3: Yes, but it's rather odd that he would give them away instead of selling them and donating the proceeds to his own organization.
Speaker 4: Well, we still need to get in touch with him to let him know about Gleaning at Twilight.
Speaker 5: You know, I just had a thought. You don't have a security system here yet, do you?
Speaker 3: No, we don't. Do you have a more secure location in mind?
Speaker 5: Yeah, Witte Hungate. Eugene designed the system there.
Speaker 3: It also has a large safe. Good idea, Connie. Would you mind crating the painting back up and taking it over there?
Speaker 5: No, not at all.
Speaker 3: Good. I'll call Jason, tell him to expect you.
Speaker 4: Thank you for talking with us like this, Mr. Smith. I I I know you're very busy.
Speaker 8: Nonsense. Never too busy to talk with friends of Witt. Now, what can I do for you? You looking for a donation?
Speaker 4: Well, actually we're calling about a donation you've already made.
Speaker 8: Really? I don't recall donating anything to your gallery.
Speaker 3: Well, you didn't directly.
Speaker 8: I beg your pardon?
Speaker 4: Well, you actually donated a group of paintings to the Universal Press Foundation. Witt donated them to us.
Speaker 8: I see.
Speaker 3: We've discovered that one of the paintings is an original. It's a work called Gleaning at Twilight by Henri Leau.
Speaker 8: Yes, I remember it. What about it?
Speaker 3: It's very valuable.
Speaker 8: That old thing? Well, what do you know?
Speaker 3: Just out of curiosity, where did you get the painting, Mr. Smith?
Speaker 8: Oh, it's been in my family for years. My grandfather bought it at a flea market around the turn of the century. He gave it to my father who gave it to me.
Speaker 4: Well, that's interesting because the painting has been missing for a long time.
Speaker 3: And for some reason, someone covered up the signature.
Speaker 8: Well, I guess tomorrow it is. You never can tell what you'll find at a flea market, huh?
Speaker 4: Well, the reason we're calling is we thought that when you donated the paintings, you probably didn't realize how valuable a work you had. Uh, did you?
Speaker 8: No, not really.
Speaker 3: That's why we feel it's only right that we send it back to you.
Speaker 8: That won't be necessary. I'd rather why don't you keep it?
Speaker 3: Uh, keep it?
Speaker 4: You want us to keep the painting?
Speaker 8: That's right. Consider it your first major acquisition.
Speaker 4: Well, that's that's very generous. Are you sure?
Speaker 8: Positive. Under one condition.
Speaker 3: What?
Speaker 8: No publicity.
Speaker 4: No publicity?
Speaker 8: That's right.
Speaker 3: That may be difficult, Mr. Smith, because of the painting's significance and the way in which it was found. People, especially the art world, well, they'll want to know the story behind it.
Speaker 8: Too bad. Listen, you can tell anything you want about the painting. Just don't mention my name or especially hand to hand.
Speaker 3: But this could mean a great deal of publicity for hand to hand. Are you sure?
Speaker 8: Very sure. No names. Are we clear?
Speaker 3: Yes, of course, if that's the way you want it.
Speaker 8: Good. And congratulations.
Speaker 4: Thank you. Thanks again for your generosity.
Speaker 3: Odd. Very odd.
Speaker 4: That's the way these rich philanthropists are. Friendly, but abrupt.
Speaker 3: Not that, not that. I mean, it seems odd that he would give away the painting.
Speaker 4: Why? After all, giving things away is what he's known for.
Speaker 3: Exactly. He's known for it. So why the secrecy all of a sudden?
Speaker 4: Maybe this time he simply doesn't want the spotlight.
Speaker 3: Maybe. But there's something else.
Speaker 4: What?
Speaker 3: Well, putting aside the fact that G. Winston Smith would give away a valuable painting so easily, this was a painting his grandfather gave to his grandmother. That makes it a family heirloom, doesn't it? Yet he acted as though he couldn't wait to get rid of it.
Speaker 4: I admit it's a bit strange, but unless G. Winston decides to open up to us, it'll have to remain a mystery.
Speaker 3: I guess so.
Speaker 2: Okay, Connie, I made room in the big safe. You need help bringing in the painting?
Speaker 5: No, I got it.
Speaker 2: You sure?
Speaker 5: I got it, Jason. I loaded it into the car by myself. It's not that bad.
Speaker 2: Okay, okay. You're close to the steps now, so be careful.
Speaker 5: I see. Could you just get the door?
Speaker 2: Yeah, sure.
Speaker 5: Gangway.
Speaker 2: Connie, hold on, hold on.
Speaker 5: Is it all right?
Speaker 3: So far so good.
Speaker 5: I'm so sorry that kid scared me and I just couldn't hold on to it.
Speaker 4: It's okay, Connie.
Speaker 2: I should have helped you, Connie. It's my fault too.
Speaker 4: It's no one's fault. But we may have ruined a masterpiece.
Speaker 3: Don't worry, you haven't.
Speaker 5: Really?
Speaker 3: I don't see any damage, but oh.
Speaker 5: What, what, what? Did you did you find something?
Speaker 3: Yes, I did.
Speaker 5: I knew it. It's ruined, isn't it?
Speaker 3: No, no, no. The frame was just covering some writing on the back here.
Speaker 4: Writing?
Speaker 2: Looks like French. Oh, here, let me see. OMA, Amour Toujours, HA 1935.
Speaker 4: I'm afraid my French is a little rusty.
Speaker 2: Well, it means 2MA, Love Always, HA 1935.
Speaker 5: It looks handwritten.
Speaker 4: Who in the world are MA and HA?
Speaker 5: Mr. Smith's parents or grandparents perhaps?
Speaker 4: But both last initials are the same, and they're A's, not S's.
Speaker 3: Could could be his grandparents on his mother's side.
Speaker 2: I don't think so. G. Winston said his grandfather bought the painting and gave it to his father who passed it on to him.
Speaker 4: But if his grandfather bought the painting around the turn of the century, why would he wait 35 years to give it to his grandmother?
Speaker 3: Good question.
Speaker 5: Do you think this MA and HA covered up Leau's signature?
Speaker 3: There's no way of telling. But based on our last conversation, I don't think we're going to get any more information out of G. Winston Smith.
Speaker 2: No, but we might be able to get some information from other sources, like the International Art Registry in Paris.
Speaker 5: The who?
Speaker 3: Of course, the registries trace the history of many famous works of art.
Speaker 2: Uh-huh. And maybe they know something about this one as well.
Speaker 3: Yeah. The only problem is the registry is notorious for red tape and snobbery. It could take months for them to provide any information if they decide to provide any at all.
Speaker 2: Well, I might be able to pull a few strings and speed things up a little.
Speaker 3: Really?
Speaker 2: A friend of mine works there.
Speaker 3: You Whittakers. Is there anybody you don't know?
Speaker 2: Uh, no. Not really. I'm making phone calls.
Speaker 3: Come on, guys. Let's clean up this mess and put the painting in the safe. Jack? Joanne?
Speaker 2: Back here, Jason.
Speaker 3: Ah, there you are.
Speaker 4: Sorry. The place is still pretty messy.
Speaker 2: Never mind about that. Listen, I just got a fax from the International Art Registry.
Speaker 4: What?
Speaker 3: So soon?
Speaker 2: Like you said, we Whittakers know everybody. Here, look at this.
Speaker 3: Oh my goodness.
Speaker 4: What?
Speaker 3: Is this accurate, Jason?
Speaker 4: What?
Speaker 2: Well, according to my friend at the registry it is.
Speaker 4: What? What's wrong?
Speaker 3: Well, according to this information, G. Winston Smith may be a thief.
Speaker 4: What? Let me see that. Oh my goodness.
Speaker 2: So what are you going to do, Jack?
Speaker 3: I think we need to have a little face-to-face talk with Mr. Smith.
Speaker 1: Want to contact us about the episodes you're hearing? Visit our website at adventuresandodyssey.com or talk to someone at Focus on the Family. Call 1 800 A Family with a parent's permission, of course. We always love hearing from you.
Speaker 2: Have a seat, Mr. and Mrs. Allen.
Speaker 3: Thank you, Mr. Smith.
Speaker 8: Can I get you a beverage, coffee, tea?
Speaker 3: Nothing for me. You dear?
Speaker 4: I am fine, thanks.
Speaker 8: All right. Well, I have to admit I was surprised when my secretary told me you insisted upon seeing me.
Speaker 3: Well, we have a few more questions about the painting.
Speaker 8: I thought we'd settle this. Besides, I don't know anymore about it than what I've already told you.
Speaker 4: Well, we've done a little digging and have come across some new information.
Speaker 8: Information? What information?
Speaker 4: According to the International Art Registry in Paris, the painting has never been in a museum. It has always been privately owned up to the time it disappeared.
Speaker 8: That makes sense. I told you my grandfather bought it for my grandmother at a flea market around the turn of the century. It was probably placed there by the previous owners.
Speaker 3: Perhaps. The last recorded purchase of the painting was by a Hannah Dreyfus, the daughter of a wealthy French socialite. She bought it as a wedding gift for her husband Meyer Abbott.
Speaker 8: This is all very interesting, but what does it have to do with me?
Speaker 4: Hannah bought the painting in 1935.
Speaker 8: 19 35?
Speaker 3: Yes. Which leads to the obvious question, if your grandfather bought the painting at a flea market around the turn of the century, then how could Hannah have given it to Meyer 35 years later?
Speaker 8: Well, this Hannah obviously thought she was buying a copy.
Speaker 4: But she wasn't. Her handwritten inscription is on the back of the painting we have.
Speaker 3: Hannah knew she was getting the original. The registry has records of who has owned the painting ever since it was created. Your grandfather's name doesn't appear in those records.
Speaker 8: Now, you're suggesting that he stole the painting?
Speaker 4: We're not suggesting anything, Mr. Smith. We're just trying to learn the truth.
Speaker 8: I know what you're doing. You're trying to ruin a good man. Well, you're not going to it, you hear? This conversation is over. I want you out of here now or I'll call security and have you thrown out.
Speaker 3: There's no need for that, Mr. Smith. We'll go. But before we do, there's someone in your outer office I think you should meet.
Speaker 8: Meet? What are you talking about? Who?
Speaker 3: You can come in now.
Speaker 8: What is this? Who are you?
Speaker 9: I am Rabbi Meyer Abbott.
Speaker 8: No. You're alive. I can't I can't Please. Tell us the truth about the painting. Please.
Speaker 9: My my father died, you know, just a couple of months ago. I loved him very much, very much.
Speaker 8: Mr. Smith, my name is not Smith, or at least my family name wasn't originally Smith. It was Schmidt. My father changed it when he came to America. You see, he was afraid they might not let him into the country if they found out he was a Nazi.
Speaker 4: A Nazi?
Speaker 8: My father was a member of the German army, a line soldier at the Russian front. One day he happened to be in the right place at the right time and saved his general's life. As a reward he was promoted to sergeant and given his choice of duties. He chose Paris where he was put in charge of cataloging the valuables taken from Jewish homes after the occupation.
Speaker 4: Valuables that included artwork?
Speaker 8: Yes. The Nazis were stealing billions of dollars in gold and jewelry and thousands of paintings. My father made up the manifests. He didn't think anyone would notice if some of that loot was missing, so he took some gold and jewelry and a certain painting and hid them away. When it became clear that Germany was going to lose the war, he deserted. He used the gold to smuggle his way to America, Chicago. Once there he changed his name to Smith. A short time later he met and married my mother. The following year I was born.
Speaker 3: We know what happened to the gold and the painting, but what about the jewelry?
Speaker 8: My father sold it and used the money to start a small business, hardware store, and he proceeded to live out the rest of his life in anonymity.
Speaker 4: No one ever knew?
Speaker 8: No. I've since thought that my father probably lived in constant fear that he'd be found out, but he never was. Even my mother went to a grave not knowing.
Speaker 3: Wow.
Speaker 8: Eventually I grew up, took over the business, and turned it into what it is today.
Speaker 4: And from its proceeds you started hand to hand?
Speaker 8: Yes. Then a few months ago my father fell ill. When he knew he was going to die, he called me to his bedside. The painting always hung in his room. He pointed to it and told me the story behind it and who he really was and what he had done. It was my father's dying wish that I should try to find the rightful owners of the painting and return it to them. I tried. I really did. But the more I thought about it, the more afraid I became. I felt I couldn't risk the potential publicity. It could wreck everything I'd worked for and built. But at the same time I couldn't bear to keep it knowing what I knew.
Speaker 3: So you put it amongst the bunch of worthless paintings and donated it to UFF?
Speaker 8: I didn't know Witt would give it to you. I thought it was a good way to get rid of the painting without risking hand to hand. If word got out, who would want to contribute to an organization that was founded with money stolen from Jews by a Nazi?
Speaker 9: I would.
Speaker 8: You?
Speaker 9: Yes.
Speaker 8: But my father stole your wife's gift to you, and I tried to cover it up. Even after that, you would still support hand to hand?
Speaker 9: Gladly. Thanks to the Allens, my wife's gift has now come back to me. And the Torah teaches the importance of forgiveness, God's forgiveness to us and our forgiveness to each other. Rabbi, I am so sorry for what my family did to your family and my people to your people.
Speaker 8: You have created a wonderful organization that helps others, Mr. Smith. And for that, may the Lord bless you.
Speaker 9: Thank you, Rabbi. Thank you.
Speaker 3: The G. and J. Antique Gallery would like to thank Rabbi Meyer Abbott for loaning us Gleaning at Twilight. The painting will remain on permanent display here, the centerpiece of our Hall of Freedom exhibit. We're also pleased to announce the formation of the Hannah Abbott Art Scholarship made possible by the generosity of G. Winston Smith. Each year the scholarship will go to a deserving art student whose work celebrates the ideals of freedom.
Speaker 2: Very nice, Jack, Joanne. Thank you.
Speaker 5: It was also nice of you to loan us the painting, Rabbi.
Speaker 9: I can't think of a better place for it. I just hope this display and the story behind it serve as a reminder of the damage caused by prejudice.
Speaker 4: And of the healing power of love and forgiveness.
Speaker 3: Amen to that. Amen to that.
Speaker 1: Psalm 89 verse 14 says, Righteousness and justice are the foundation of thy throne, O Lord. Loving kindness and truth go before thee. Jack and Joanne wanted to make sure the real story behind the painting was uncovered and that it was returned to its rightful owner because they knew that justice is very important to God. If you're ever faced with a case of injustice, like someone being accused of something you know they didn't do, remember this verse and also remember that our God is a God of justice. And that's all for now. If you ever want to write to me, I'd love to hear from you. The address is Adventures and Odyssey, Colorado Springs, Colorado 80995. Or in Canada write to Box 9800, Vancouver, BC V6B 4G3. And when you do, ask about how you can get your own copy of today's episode. It's called The Painting. Adventures and Odyssey's a presentation of Focus on the Family. The painting was written and directed by Phil Lollar. Our production engineer was Mark Drury. And I'm Chris, hoping you'll join us again next time for more Adventures and Odyssey.