The Crimes of Paris

by Dorothy Hoobler; Thomas Hoobler

  17. Reit, Day They Stole, 142.

  18. Esterow, Art Stealers, 150.

  19. Ibid.

  20. Jérôme Coignard, Loin du Louvre: Le vol de la Joconde, trans. Lyn Nosker (Paris: Éditions Olbia, 1998), 121.

  21. Reit, Day They Stole, 155.

  22. Ibid., 163.

  23. Coignard, Loin du Louvre, 126.

  24. Ibid., 127.

  25. Reit, Day They Stole, 165.

  26. Esterow, Art Stealers, 169.

  CHAPTER NINE: CHERCHEZ LA FEMME

  1. Irving Wallace, “France’s Greatest Detective,” Reader’s Digest, February 1950, 106.

  2. Lucia Zedner, “Women, Crime and Penal Responses: A Historical Account,” in History of Criminology, ed. Paul Rock (Aldershot, UK: Dartmouth, 1994), 339.

  3. Berenson, Trial of Madame Caillaux, 268–69 (see chap. 3, n. 20).

  4. Shapiro, Breaking the Codes, 14 (see chap. 1, n. 43).

  5. Ibid., 38.

  6. Ibid.

  7. Ibid., 34.

  8. Benjamin F. Martin, The Hypocrisy of Justice in the Belle Epoque (Baton Rouge: Louisiana University Press, 1984), 35.

  9. Ibid., 46.

  10. Ibid., 48.

  11. Ibid., 49.

  12. Ibid., 52.

  13. Ibid., 63–64.

  14. Ibid., 66.

  15. Ibid., 68.

  16. Ernest Dudley and Marguerite Steinheil, The Scarlett Widow (London: Muller, 1960), 192.

  17. Ibid., 193.

  18. Ibid., 197.

  19. Ibid., 193.

  20. Ibid., 194.

  21. Berenson, Trial of Madame Caillaux, 63.

  22. Even in the rough-and-tumble world of French journalism, it was an unwritten rule that the foibles of politicians’ personal lives were off limits. Calmette had to defend his decision to print the “Ton Jo” letter. He published a statement: “This is the first time in my thirty years of journalism that I am publishing a private, intimate letter, against the wishes of its author, its owner, or its receiver. My dignity experiences true suffering at this act.” Martin, Hypocrisy of Justice, 170.

  23. Berenson, Trial of Madame Caillaux, 23.

  24. Martin, Hypocrisy of Justice, 172.

  25. Berenson, Trial of Madame Caillaux, 24.

  26. Martin, Hypocrisy of Justice, 173.

  27. Ibid., 151–52.

  28. Ibid., 152.

  29. James Trager, The Women’s Chronology: A Year-by-Year Record from Prehistory to the Present (New York: Holt, 1994), 400.

  30. Boucard ignored the possibility that Henriette wanted to prevent Calmette from publishing other documents, such as the Fabre memo, because that would have shown a more political motive on her part.

  31. Berenson, Trial of Madame Caillaux, 35.

  32. Ibid., 33.

  33. Alister Kershaw, Murder in France (London: Constable, 1955), 94.

  34. Martin, Hypocrisy of Justice, 180–81.

  35. Ibid., 181.

  36. Ibid.

  37. French law permitted them to take part in the criminal trial, in addition to the prosecution and defense attorneys.

  38. Martin, Hypocrisy of Justice, 185.

  39. Ibid., 191.

  40. Ibid.

  41. Berenson, Trial of Madame Caillaux, 173.

  42. Ibid., 171.

  43. Ibid., 208–9.

  44. Martin, Hypocrisy of Justice, 197.

  45. Ibid., 198.

  46. Ibid., 199.

  47. Ibid.

  48. Ibid., 200.

  49. Ibid., 201.

  CHAPTER TEN: THE GREATEST CRIME

  1. Arthur Gold and Robert Fizdale, Misia: The Life of Misia Sert (New York: Knopf, 1980), 162.

  2. Ibid.

  3. Arthur I. Miller, Insights of Genius: Imagery and Creativity in Science and Art (New York: Copernicus, 1996), 419.

  4. Jay Robert Nash, Encyclopedia of World Crime: Criminal Justice, Criminology, and Law Enforcement (Wilmette, IL: CrimeBooks, 1990), 35.

  5. Ibid.

  6. Ibid.

  7. Adam Liptak, “Driver’s License Emerges as Crime-Fighting Tool, but Privacy Advocates Worry,” New York Times, February 17, 2007.

  8. Forgetting the proper month, Apollinaire wrote “August 1914.”

  9. Francis Steegmuller, Apollinaire: Poet among the Painters (New York: Farrar, Straus, 1963), 233.

  10. Ibid., 235.

  11. Ibid., 249.

  12. Ibid., 259.

  13. Stephen Kern, The Culture of Time and Space 1880–1918 (Cambridge, MA: Harvard University Press, 2003), 302.

  14. Billy Klüver, A Day with Picasso: Twenty-four Photographs by Jean Cocteau (Cambridge, MA: MIT Press, 1997), 65.

  15. The painting was not sold to anyone until 1924, when the Paris couturier Jacques Doucet purchased it.

  16. Brassaï, Picasso and Company, trans. Francis Price (Garden City, NY: Doubleday, 1966), 119.

  17. Heartfield’s original name was Helmut Herzfeld, which he changed during the war as a protest to anti-British propaganda.

  18. Wolfgang Beutin et al., A History of German Literature from the Beginnings to the Present Day, 4th ed., trans. Clare Krojzl (London: Routledge, 1993), 452.

  19. The name has a variety of explanations. One is that it was a French word for “hobbyhorse.” Another was that it was Russian for “yes, yes,” meant sarcastically.

  20. H. R. Rookmaaker, Modern Art and the Death of a Culture (Downers Grove, IL: Inter-Varsity Press, 1970), 130.

  21. Norbert Lynton, The Story of Modern Art (Ithaca, NY: Cornell University Press, 1980), 127.

  AFTERWORD: THE MASTERMIND

  1. Karl Decker, “Why and How the Mona Lisa Was Stolen,” Saturday Evening Post, June 25, 1932, 14.

  2. Ibid., 14.

  3. Ibid., 15.

  4. Ibid., 89.

  5. Ibid.

  6. Ibid.

  7. Ibid.

  8. Ibid.

  9. Ibid., 91.

  10. Ibid., 89.

  11. Ibid., 91.

  12. Ibid.

  13. Ibid.

  14. Ibid.

  15. Jana Seely, e-mail message to authors, September 26, 2005.

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