A painting has vanished from a prestigious Cambridge museum. Its senior curator has disappeared without explanation. And what looked like a simple theft turns out to be something no one anticipated: a scholarly argument conducted through the only means left available.
Case Shannon is called in by the Trent Collection's director - a woman who cares about the works in her care more than institutional politics - and within two days has traced the missing curator to a farmhouse in upstate New York. What he finds there, in a converted barn with a skylight and a climate-controlled examination table, changes everything.
The curator hasn't stolen the painting. He's trying to prove that it isn't what it's labelled - that a small Dutch panel catalogued for eighty-three years as a follower of Vermeer is, in fact, a Vermeer. And not just the missing panel. Three other works. An undiscovered masterwork hiding in plain sight in a collection that was about to sell it for a fraction of its true value.