The San Francisco Cookie Mystery (Part 5) | Contents | The San Francisco Cookie Mystery (Part 7)
The “appraisal meeting” was decided for Monday after school. After classes ended, the school building began to be enveloped in the noise of students leaving and doing club activities. The sounds of music clubs and the shouts of sports clubs could be heard near and far. It wasn’t necessary for me to be present when Osanai-san looked at the painting. Kengo hadn’t asked me to come either. But I chose to go. It might not be of any help, but it could be.
In the meantime, I would go to pick up Osanai-san and guide her to the empty classroom where <The Sight and the Outer, or fortune-cookie> was placed. As we walked down the hallway, Osanai-san didn’t seem particularly tense or relaxed, but she had a slightly annoyed expression on her face.
The empty classroom was unlocked. Just like Friday, the desk and chairs were moved to create a space where the copy of Nicolas de Staël, or Shima Taiga’s sculptural work, was framed and placed on an easel. Doujima Kengo was standing there with a serious expression, and in the corner of the classroom, Art teacher Koumura was standing with a somewhat smiling face.
“Osanai, I’m sorry.”
Kengo called out, but Osanai-san didn’t respond. She stood tall, hiding behind me.
“Osanai-san, if you hide, he won’t be able to see you.”
I said over my shoulder, and Osanai-san nodded and stepped forward. First, she bowed to Mr. Koumura in the corner of the classroom and said in a voice that seemed like it would disappear.
“Hello.”
As if he didn’t expect a greeting here, Mr. Koumura replied with a puzzled “Ah, hello.” Then to Kengo, he said,
“Is this the one? Is she the one who is knowledgeable?”
“I don’t know if she’s knowledgeable, but she helped me before.”
“I see.”
“Teacher, you know.”
Kengo spoke as if he had made up his mind.
“I’m sorry to take your time during club activities. We’re just going to look at the painting, so…….”
“Is it okay if I’m not here? That’s not how it works. If something happens to the important painting, it would be irreparable.”
I actually wondered why Mr. Koumura was there. Was it for the management of the work?
“Alright. Then, thank you.”
Kengo bowed his head.
In the brief exchange, Osanai-san stood in front of the painting and was measuring its width with a tape measure she had somehow obtained. It was a remarkable feat that took advantage of the psychological gaps of everyone present. I heard Osanai-san’s whisper in my ear.
“114 cm.”
That number was 12 cm longer than the dimensions confirmed in the catalog of the 10th Prefectural Exhibition. Osanai-san showed no signs of agitation at the increased width. In other words, she had already anticipated it.
What is the identity of the additional 12 cm? Of course, it’s the frame. When this painting was exhibited at the Prefectural Exhibition, it was probably not framed. If Osanai-san’s prediction that “the painting is propped up on an easel” is the complete picture of Shima Taiga’s sculptural work, then it would be strange for it to be framed.
The painting was probably framed for preservation after the Prefectural Exhibition ended.
Which means that the current state is different from that of thirty years ago.
Osanai-san turned to Kengo.
“Doujima-kun. I want to remove the frame.”
“The frame?”
Kengo showed his confusion.
“Won’t it damage the painting?”
“I’m not sure…… but I want to remove it.”
Amazing. Without giving any reason, and not even looking at Kengo’s face, she timidly made her request. If Kengo said he couldn’t do it, it would be the best outcome for Osanai-san as an excuse.
But unfortunately, Doujima Kengo is the type of person who will do anything to help if you ask him to push through. He answered shortly with “Understood” and said to Mr. Koumura.
“I’m going to remove the frame. What should I do to avoid damaging the painting?”
Kengo is also quite impressive. He didn’t say “May I remove the frame?” but rather “I’m going to remove the frame.” Mr. Koumura had a serious expression, but perhaps seeing that Kengo wouldn’t back down, he sighed and said,
“Nothing should go wrong. I’ll do it.”
As he said that, he stepped in front of the painting.
“There’s no taping. This will be quick.”
He’s indeed an art teacher. In no time, he flipped the frame over and removed the canvas, propping it back up on the easel. The colors that had been hidden behind the yellowed plastic sheet emerged after thirty years.
Osanai-san glanced at me for a moment and nodded slightly, just enough for the tip of her chin to twitch. I suddenly said,
“Mr. Koumura, please let me see that frame!”
Kengo and Mr. Koumura both looked startled.
“What is it, Jougorou, all of a sudden?”
Kengo’s protest was ignored as I approached Mr. Koumura. He looked at the frame in his hand and said,
“It’s just a cheap one.”
He then handed it to me.
It was quite an old frame, and as Mr. Koumura said, it wasn’t particularly impressive. After the Prefectural Exhibition, Shima Taiga probably framed it himself. It might even be handmade by Shima Taiga; if so, the frame might have some value. However, my serious examination of an otherwise ordinary frame must have looked a bit comical to Kengo and the others. Kengo and Mr. Koumura’s attention was drawn to me.
And then suddenly,
“Ah.”
A voice came up. It was Osanai-san. What happened? I have created an opportunity to steal a glance at the two, but she raised her voice herself. Looking closer, Osanai-san was pointing at the bottom of the painting.
“There’s something written.”
“What?”
Kengo hurriedly leaned in to look at the painting, and Mr. Koumura bent down to bring his face closer to the painting. I followed the tip of Osanai-san’s finger from behind the two.
There were thin black letters that read, “Originate from The Square Fort in Antibes by Nicolas de Staël. I love him.”1 The letters were written right at the bottom of the painting — until just now, they had been hidden behind the frame.
“What!”
Kengo sighed.
“In the end, it was a study! Shima Taiga properly labeled the study so that it would be recognized as a copy and submitted it to the Prefectural Exhibition.”
Mr. Koumura adjusted his glasses, which had slipped down because he was looking down.
“But the Prefectural Exhibition should only accept original works…….”
“That’s a problem with the judges who overlooked it, teacher. Shima Taiga didn’t submit someone else’s work as his own. That’s great! Osanai, I can’t believe it! I never thought it would be true…… amazing!”
Kengo looked like he was about to jump for joy. He praised Osanai-san and bowed his head, and if Osanai-san hadn’t been a girl, he would have picked her up and thrown her in the air. On the other hand, Osanai-san’s confusion was pitiful to see.
“Um…… well, I just thought that it might not be visible through the plastic, and it was just a coincidence…… if you take it out of the frame, anyone would have noticed…….”
“The idea of taking it out of the frame didn’t even occur to me! You really helped me, I owe you one.”
“I didn’t do anything…… I’m just…….”
Osanai-san stepped back as if to escape from Kengo and naturally moved to hide behind me, like water flowing to a lower place. Kengo exclaimed, “That’s right!” and brought over a paper bag that was on a nearby desk.
“Let me give you a small token of gratitude. This is delicious.”
“Oh.”
Osanai-san’s voice brightened up.
“What is it?”
From behind me, Osanai-san jumped out and took the paper bag from Kengo. I hope she doesn’t get lured away by a bad person with candy or something. Kengo said with a rare, beaming smile.
“There’s a German bread shop nearby. They serve Berliner Pfannkuchen, which is basically fried bread. Don’t hesitate to take it!”
The San Francisco Cookie Mystery (Part 5) | Contents | The San Francisco Cookie Mystery (Part 7)