Description
Thomas Tallis, inspector of provenance, has just arrived in Edinburgh, Scotland, to authenticate The Goldenacre, a masterpiece by iconic Scottish architect and painter Charles Rennie Mackintosh. Still dealing with a miserable divorce and the fallout from a disastrous job in London, Tallis is eager to sign off on the painting and leave. It should be simple, as the painting has been owned by one noble family since the ’20s. But then a horrifying parcel arrives on Tallis’s desk, and the threatening message is clear: someone doesn’t want him inspecting the painting. Now that Tallis sees lives are in danger, he has no choice but to stay until the investigation is complete.
Meanwhile, gruesome murders are plaguing Edinburgh. First, a Scottish painter of great renown. Next, an Edinburgh City Counsellor. Battle-hardened newspaper reporter Shona Sandison is on the case, even as her beloved industry shrinks around her. Shona doesn’t care who she steps on to get the best story, and she soon uncovers a link between The Goldenacre and the murders. As Tallis’s personal crises reach a fever pitch, Shona struggles to enlist his help in understanding how the painting is mixed up in all this violence before either one of them becomes the next victim.
Meanwhile, gruesome murders are plaguing Edinburgh. First, a Scottish painter of great renown. Next, an Edinburgh City Counsellor. Battle-hardened newspaper reporter Shona Sandison is on the case, even as her beloved industry shrinks around her. Shona doesn’t care who she steps on to get the best story, and she soon uncovers a link between The Goldenacre and the murders. As Tallis’s personal crises reach a fever pitch, Shona struggles to enlist his help in understanding how the painting is mixed up in all this violence before either one of them becomes the next victim.