“This author is sheer perfection when it comes to using descriptions and locations that are richly done and offer sharp details throughout the entirety of the story.” – Suspense Magazine
When art recovery expert Laurel Beacham’s personal and professional worlds collide, she learns no good theft goes unpunished. Incomplete intel and a missing source compel her to make a huge mistake, and she’s left with a divided team. Every retrieved masterpiece has a price—and the cost of forgeries can be deadly. This time Laurel could lose not only her best lead, but also her most trusted ally. The stakes have never been higher, forcing her and her partner, Jack, to go on the run, crisscrossing Europe to evade the criminals. Except instead of two masterminds working against them, they realize there might be three. With no time to lose, Laurel and her team must pool their resources and work to set aside their differences before they become the next fatalities.
“I highly recommend the entire series.” – King’s River Life Magazine
Related subjects include: women sleuths, cozy mysteries, amateur sleuth books, murder mysteries, whodunit mysteries (whodunnit), international mysteries, crime capers, book club recommendations.
Books in the Bodies of Art Mystery Series:
COUNTERFEIT CONSPIRACIES (#1)
MARKED MASTERS (#2)
ABSTRACT ALIASES (#3)
FATAL FORGERIES (#4)
Part of the Henery Press Mystery Series Collection, if you like one, you'll probably like them all…
Author Bio: Ritter Ames lives atop a high green hill in the country with her husband and Labrador retriever, and spends each day globe-trotting the art world from her laptop with Pandora blasting into her earbuds. Often with the dog snoring at her feet. Much like her Bodies of Art Mysteries, Ritter’s favorite vacations start in London, then spiral out in every direction. She’s been known to plan trips after researching new books, and keeps a list of “can’t miss” foods to taste along the way. Visit her at www.ritterames.com where she blogs about all the crazy things that interest her.
Read an Excerpt
The mid-January air was cold enough that I saw my breath, but I was too focused on my task to feel chilled. My uniform was a Lycra cat suit. A black hood covered my blonde hair. A coat would have created an extra obstacle I couldn't afford. Minutes ticked down, faster and faster. No time for anything that didn't contribute to the job at hand.
The narrow cable lay coiled beside the rooftop A/C unit. A quarter moon hung bravely in the night sky, casting little light for me to see — or be seen from my perch so high above the ground. I felt more invisible than I truly was. Excessive self-confidence was always the greatest danger in this kind of game. Still, I took advantage and leaned over the five-hundred-year-old golden-stone balustrade, stealing a second to re-gauge the distance between me and the darkened edge of the forest several hundred feet away. In the semi-darkness, I couldn't distinguish individual trees. I pulled the night-vision goggles down to hide my blue eyes and double checked on the due diligence I'd accomplished with subterfuge the week before. All to make my mental map see the targeted objective. I only had one shot. No time for mistakes.
My right hand freed the collapsed crossbow from the holster on my thigh. My left dragged the arrow from a long pocket I'd fashioned into the Lycra on the corresponding leg. Connecting the cable to the arrow was easy. The hard part came in trusting that every other piece of this last phase would go as planned.
I pulled at the sides of the crossbow, opening it to full size. Although I'd oiled the mechanism to keep it quiet, a rogue snick sounded when the parts snapped into sequence. A pause to see if the unexpected sound caught the attention of security personnel. Nothing. I closed my eyes for a moment, realized I'd been holding my breath, and forced the air slowly from my lungs.
One more risk. I removed a glove to run sensitive fingertips along the cool top of the balustrade, at the point where I'd carefully worked indentations into the stone. I located the first indentation, then the second barely there scrape. Easily confused with earlier battles the fortifications withstood since its medieval architects pulled artistic ideals together with security specifications. At least I hoped so. Too late to worry.
In a heartbeat, I'd lined up the crossbow, placing the mechanism atop the stone and triple-checking my marks with the base of the device. I squinted at the tree line, then spent another minute unfurling the cord from its coil so it fell haphazardly across the paved roof. Working almost on instinct at this point, one end went into a metal loop cemented into the wall that I'd discovered earlier. The loop had been the final detail to seal my decision on where to run this phase of the operation.
The moon broke fleetingly through the gathered clouds, but it was dim and small and basically useless for any needed illumination. Exactly as I needed.
I risked the seconds to put my right glove back on — before I closed my eyes to pray, to wish, or to will everything and everyone to perform correctly in the next few minutes. Then I pulled the trigger and let the arrow fly.
A distant gratifying thunk told me my calculations for weight and distance remained spot on. I gave the cord a tug, satisfied the arrow point was wedged deeply enough into the tree's trunk. Both ends now secure, I attached a silver carabiner to the loop of the black cylinder and then the metal clip to the cord. I let the "package" sail down the line and kept hold near the loop to feel the vibration en route.
Now came the waiting. My focus stayed intent on the objective. Suddenly, the vibration in the line stopped. I felt the cord move again, up and down this time. A sharp tug on the line told me Nico had it at the other end. I felt the line jerk hard and go slack. My turn again. I grasped the line with both gloves. Hand over hand, I pulled back the once-used cord. It still had yards to go and escapes to make before it slept.
My black leather gloves never lost their grip on the steel line. Less than a minute and I heard the arrow slap against the side of the stone far below, as it began its ascent back to the roof. I didn't slow down. The sharp fiberglass arrow rode easily up this windowless side of the chateau. It was all a matter of timing at this stage. Things were going almost too perfectly. Unless I heard a shout of alarm, I was past the first round of danger. The next security patrol wasn't due for another three minutes. I rubbed at the top of the stone to smudge any fingerprints I may have left behind.
My objective — what flew down the line in the large black tube — was the Caravaggio masterwork the facility's director had not meant for us to see. When Jack and I visited days ago, a panel that should have been closed wasn't. The director was waylaid by an assistant and let us enter his office on our own. A glimpse of the visible drapery in the painting, though I could only see an inch width, lured me like a siren's call. Jack was busy looking at the bookshelf and neighboring awards, but he turned when I gasped and pushed the panel open farther. The sharp light and dark contrasting technique was Caravaggio's bold statement and trademark, known by the Italian term "chiaroscuro." And the incomparable realism of key images like that drapery told me this was a find. Five men in the work, and the expected illuminated cameo of the artist. A knife covered in blood shone like Chinese lacquer. Typical Caravaggio genius.
Then the director came in and uttered a soft oath. He'd quickly moved around the desk to close the panel. "Only a copy," he'd said, his French accent heavy in his anxiety. "Made from a new secret digital technology using oils." Even without reading his body language I knew he was lying.
This painting had been on the Beacham Foundation's "lookout" list for years. I needed no research to tell me who was the true owner of the painting. In that instant, I made plans to reclaim it.
Startling news about how the painting would be picked up in a few hours had moved things up. I stepped up my plans and recruited Nico for assistance.
Then, as the reclamation was in play, while I scouted the painting's security parameters in the darkened director's office, looking for the best way to safely remove the masterpiece, I noticed a figurine in a locked case. Another stolen work on our list. It was small and I operated on impulse, letting it ride piggyback in the cylinder with the painting.
A chorus of barks from the direction of the kennels reminded me how everything must work perfectly from this point outward. If the guard made his last solo round too late or too soon, I'd be discovered. However, if anyone noticed the empty frame in the director's study or the lonely case without the tiny figurine, it wouldn't much matter that I no longer had the items on me. Laurel Beacham in the inky black cat suit would get hauled off by the local gendarmes.
I had one chance to get down and get away. One chance after the guard made his rounds and before the dogs were turned out to roam the estate as residents and staff slept. One chance.
We'd taken every possible precaution. Some pre-work was already completed, so we weren't flying blind: we had preliminary blueprints and schedules. Nothing giving us complete details, but enough to provide a framework.
Charcoal darkened my face, and I'd pulled up my collar and bottom part of the hood to cover my mouth and most of my nose. I hid by the stone wall and risked a peek around and down, watching for the guard's approach. The wind picked up, and I shivered. A strand of blonde hair was teased free from cover. I poked it back in, then shifted the elasticized black hood for better coverage. I pushed my left sleeve away from my glove to sneak a glance at my watch and swallowed hard.
As I waited, I disconnected the cord from the loop and ran the loose end through the ring instead, so the line was doubled with the metal loop as its apex. I slapped the arrow back into the ready position on the crossbow, then slipped the strap over my head and one arm to lay in cross-body fashion. Everything was now hands free, but the weapon stayed open on my back and ready to shoot if needed. I didn't want to have to use the device in defensive mode, but I was ready all the same.
In the next instant, I saw a flash of light cut the darkness and round the corner of the chateau near ground level. Just in time.
The guard swept his beam in a relaxed manner. Most of his shift was over, and his gait told me he was probably a shade self-satisfied by this point. I was counting on that complacency.
I switched sides as he passed below, and I braced against the other side of the stone impediment to barely keep him in sight. The task required me to lean out slightly to see him disappear around the next corner. As he vanished, I leapt into the next task.
Grabbing the doubled lines together in my right gloved grip, I used my other hand to drop the bulk of the line over the side. The loop got another preparatory tug to check it still held fast in the ancient mortar, and I prayed its load limit met the average weight of a healthy five-foot-nine female without popping free of the mortar.
"Final curtain, folks," I muttered, jumping up to lever myself on the stone block that offered an opening at the crenelated end of the balustrade.
With my first leap, I began my descent, rappelling down the side of the building. I'd dropped about a story when I heard two hoots of an owl. It was our warning signal. I looked toward the direction the guard had disappeared and saw the beam of light bobbing back, quicker than when he'd passed. He was returning for some reason. Why?
I grasped the cord above and below me to hang in midair, then used the doubled line and the wall to maintain height as I walked sideways, meeting the oversized chimney several feet away. My black Lycra could bleed into shadows, but no way could I hide openly against golden-brown stone. Cowering in the crook next to the four-story stack was my only option, and I pressed in close to the architectural crevasse. I pulled the cord along with me, running most of it down the shadowed corner. I tried to make myself as small as possible while dangling next to a medieval stone chimney several stories above the ground. If he looked up and shined the light he couldn't help but see me. At least the steel line no longer ran down the middle of the blank wall.
For the second time in almost as many minutes, I held my breath, trying not to panic. When he passed the chimney, I didn't risk exhaling and making any noise, but his steps slowed. Time was getting close for the dogs to take up patrol. I chewed my lip, worrying over the fleeting minutes.
A gunshot sounded back the other way, and the guard reversed direction. He vanished again around the other side of the facility's mansion house.
I resumed rappelling down the wall. As my feet hit the grass I heard running. Nico slid to a stop beside me and jerked one line from my hand. Working as my team's digital wizard was his forte, but his skills extended equally well into the field. His black stocking cap couldn't completely tame his dark curls, but otherwise he was dressed for the business at hand. As he pulled the line to get it running free from the loop, I stood behind him and used my left arm and shoulder to coil it again.
"What was that?" I whispered. "A gunshot?"
The line end dropped wiggling from the heavens and Nico caught it as he answered, "Insurance I prearranged. Just sound on a remote timer. Come on."
I dragged the cord as we raced across the open lawn. We dove into the tree line. Nico grabbed the coiled line from me and heaved it into the underbrush. "No fingerprints," he said. "No worries."
But I scooped up the heavy line and reset it onto my shoulder. "DNA. Always worry."
He shrugged, holding the black tube under his left arm and bracing one end with his hand.
The crossbow slapped my back as I kept a steady pace behind him. We'd come to the chateau from separate directions. If they found my earlier scent and followed, it would just lead to the train station. I'd walked in shadows the entire two miles. Nico came with an escape vehicle and that was where we headed.
"Be careful." I pulled the two-way comm from my ear, since I didn't need to hear him in stereo. The devices helped inside, when I needed details from him or to relay when I had the pieces ready to go. Now comms were superfluous and added a risk of being tracked by their radio frequency.
Nico nodded and removed a twin tiny device from his ear. He raised his chin, motioning toward the end of the tube. "This is bigger than I'd thought. Is the figurine here too?"
"Yes. I wrapped it in packing and placed it at the top. I fitted a piece of cardboard so neither touches the other in the cylinder."
Nico held up a hand to signal a stop. "Rest a minute. You need to put these on." He pulled a pair of folded rubber boots out of the backpack he carried. "We're going into water."
I plopped down onto a fallen tree. "How far are we wading?" The black footwear came almost to my knees.
"About a mile." He put the tube into the space the boots had taken in the backpack.
"It's cold though," he said. "The water, I mean."
"End of January in France — what are the odds?" I grinned.
I stood and shifted the crossbow into a more comfortable position. It would have been easier to refold the weapon and reattach the bulky thing to my thigh in a streamlined state, but the risk/reward ratio favored this version.
We set off again, a bit faster, but side by side so we could talk. Nico asked, "Any snags?"
I thought back to the director's office. The false wall I'd accidentally noticed in my routine visit last week. The serendipitous way I'd been led to these two finds. "I almost tripped the alarm on the figurine case. Missed a second wireless setup at first. The painting was a cinch once I cut it away from the frame. Would have preferred not to. Always better to keep a work whole and on the stretcher, but like so many nowadays they'd safeguarded this one with sensitivity alarms set into the frame. If I'd removed it from the wall to take away the canvas intact, all of security would have been on me in an instant."
"How are you going to get the items back to the original owners?"
"Let Max do the honors," I said. Recovering stolen objects was hard enough in my "reclamation projects," but returning them myself without making people wonder made it doubly difficult to stay under the radar. This wasn't a sanctioned Beacham Foundation job, but the painting was known as stolen, which made the idea viable. My boss would dearly love being in the spotlight for restoring lost treasures to grateful owners. "I'll tell him the items were turned over to me anonymously, asking the foundation to make sure the rightful parties received them. Max'll eat it up like clotted cream." "Some people in the chateau are going to be frustrato," Nico said, brushing leaves from his pant legs. "They can't claim a loss and can't claim the items again when Max brings them back into the public realm." "If he actually does. I'm going to suggest the handovers be quiet affairs, to better safeguard the artworks' return." I stood and reset the goggles on my face. I thought I heard something the way we'd come. "How far is the creek?"
"Not far." We kept walking.
In the distance, a dog barked. Then another.
We shifted to a jog, then a run.
* * *
A few hours later, now dry and warm from the somewhat decent heater in the Peugeot, we cruised into Paris. While Nico drove, I'd added a beige winter-weight tunic to my ensemble to give me less of a cat-burglar-on-the-run look and to hide the hood. Wet wipes removed the charcoal from my face. We found a short-term parking spot across from the Gare du Nord train station.
Nico tapped the screen on his phone and got out of the car as he said, "Just sent your ticket and itinerary to you. I'll escort you to the Eurostar train platform. We have to hurry, but it will be safer with no waiting."
"You don't need to see me off," I said.
We walked fast since I had no bags, plus the still-dark morning was chilly and neither of us was bundled up warmly. Nico wore a black leather jacket, and I had my hip-length navy wool pea coat. The treasure, the crossbow, and the rest of my heist paraphernalia — like the lovely electronic devices from my wizard in Zürich that opened all manner of digitized doorways — stayed hidden in the locked trunk of the car. Those would arrive in London later with Nico.
"Seeing you to the train is obbligatorio," he said, his heavier than normal Italian accent signaling his fatigue. His words, however, told me he was stressed. "If I didn't, I couldn't finish what I need to do because I'd be too busy worrying if you boarded safely."(Continues…)
Excerpted from "Fatal Forgeries"
Copyright © 2017 Ritter Ames.
Excerpted by permission of Henery Press.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Most Helpful Customer Reviews
Ritter Ames' Fatal Forgeries Action begins immediately with Laurel and Nico on a nighttime adventure. Attempted kidnapping, murder, forgeries, spies, guns, relationships, deceit, humor, family matters and a touch of romance makes this a read you won't want to miss!!!! Captivating writing with vivid description to put the reader right there with Laurel Beacham and her associates. Laurel takes you on a fast paced, action packed worldwide tour of art thieves. Thrills, chills with plenty of twists & turns. I highly recommend this book # 4 in the Bodies of Art series. It can be read as a stand alone. I volunteered to read Fatal Forgeries. Thanks to Henery Press via Net Gallery for the opportunity. My opinion is my own.
Fatal Forgeries is the fourth book in Ritter Ames' Bodies of Art mystery series. The unknown threat against Laurel Beacham, head of the London office of Beacham Ltd., is barely kept at bay. Jack Hawkes, mystery man and well connected in British espionage if not an actual operative, does all he can to protect Laurel, but can that be enough when two attempts are made to kidnap her when he is on assignment for 24 hours? After the betrayal of former office head and love interest, Simon, when her right hand man, Nico, seems to go with known forgery ringleader Rollie, Laurel is crushed. When she and Jack learn of an invitation only auction in Barcelona, they head to go under cover with the hopes of tying the forgeries and arms dealing together and busting the case wide open. Instead, they are targeted, barely escaping. Another fast paced edition of this series, Ritter Ames's expert storytelling will have you hanging on and reading late into the night, I found this book impossible to put down and when it was over it left me anxious to have the next story in this series. I absolutely recommend both this book and the complete series!
The Bodies of Art Mystery series hooked me from the very first book but Fatal Forgeries tops all the others! Moving from fast paced to supersonic, the action only slows down for those wonderful "getting to know you" moments between Laurel and Jack. I loved the fast paced adventure, the complex mystery, the armchair travel, and the intelligent plot as well as those amazing characters. There are so many bits and pieces to pick up that I read the book twice back to back. I caught everything the first time but I didn't relate some of the clues to the action until Laurel figured put then together. Between characters that I adore and clues that I barely noticed, I found that I enjoyed it just as much the second time around. I adore Laurel's team and so much enjoy getting to spend time with them and seeing them interact with each other and with Jack and Laurel. And then, there is that amazing feeling that I am spending time in Europe discovering amazing art and architecture, a whirlwind trip to be sure but still fantastic. Ms. Ames has extended my bucket list with each book. I believe that it would be possible to enjoy the book greatly without having read the earlier stories because Ritter Ames weaves in previous encounters enough to keep the series novice in the flow; however, I think most readers would enjoy it even more after having read at least the preceding book, Abstract Alias. Each story has self-contained elements but they all work towards one major goal. I requested and received an advance readers' copy of this book of this book. I doubt that I was much help but I was delighted to get an early look at a book from this series that I love so much. I always review books that I love and love it it do, so much that I have also pre-ordered a personal copy! I believe that it would be possible to enjoy the book greatly without having read the earlier stories because Ritter Ames weaves in previous encounters enough to keep the series novice in the flow; however, I think most readers would enjoy it even more after having read at least the preceding book, Abstract Alias. Each story has self-contained elements but they all work towards one major goal. I requested and received an advance readers' copy of this book of this book. I doubt that I was much help but I was delighted to get an early look at a book from this series that I love so much. I always review books that I love and love it it do.
Fatal Forgeries by Ritter Ames is the 4th book in her Bodies of Art series and once I opened it, I couldn't put it down. Ms. Ritter's descriptive writing always makes me feel like I am right there with Laurel no matter where in the world she may be. This time we travel to France and Spain as Laurel, Jack and Nico are trying to track down lost art and follow up on the art forgeries that continue to appear on the market. Laurel is a smart and resourceful woman who really can take care of herself in most situations. Her developing relationship with Jack Hawkes has it's twists in this book so I will definitely be watching to see how this works out. I loved meeting an old friend of Laurel's from her younger years and that included a surprise about Jack that I never saw coming. Well played Ms. Ritter, well played. If you like adventure, kidnapping, world traveling and so many twists in a plot that is fast paced that you cannot put the book down, then this book is for you. Although it could be read as a stand alone, I don't recommend it because the plot and the relationships are complex and have been developing and evolving over the previous books. For the richest reading experience treat yourself to all of the books in this series. I voluntarily reviewed an Advance Reader Copy of this book that I received from Henery Press via NetGalley. All of the above opinions expressed are my own.
What an incredible series and Book 4, Fatal Forgeries, did not disappoint. I’ve been invested in these stories since the very first book, sometimes even yelling at them while I’m reading. Book 4 can standalone however the characters and capers cross all the stories. Love reading about ‘em! Laurel Beachem and Jack Hawkes have an off-the-pages relationship that really keeps you guessing. Are they together? Are they just using one another? Aren’t they the perfect couple?? Ms. Ames knows how to keep me invested in these two. The author also takes me on a journey around the world where I don’t have to pack a bag or leave home. Trust that there are such details in the surroundings that you will feel like you could reach out and touch an object or building. Truly great fun. The story is really fast-paced and fun, with enough intrigue to make me crazy! Some of the things that happen in the book [no spoilers from me] had me shouting that no! That can’t be true! And the “bad guys” keep changing, or do they, and it is a bumpy and winding journey. Laurel and Jack are terrific together, and when they remember that, there is no stopping them. I can only hope that there will be more and more “capers” and adventures with these two, AND their friends and associates! Laurel’s assistant, Niko, is a favorite character of mine as well and I’m always ready to see what he comes up with to pull Laurel’s….back out of the fire.
Ritter Ames once again surpasses my expectation with Fatal Forgeries book 4 of the Bodies of Art series. The story starts off with a bang, slows down just enough for afternoon tea than takes off again bring readers into the world of art forgery at the very end leaving reader dying for more. I have always found that series start to die off towards the end of book 4, leaving this reader disappointed. Not with the Bodies of Art series. The characters, story, art and locations and next adventure only seem to build on top of each other each. From book one to now book 4 each book bringing a new excitement, a new story and a new love for the characters readers have met and new ones they will meet. What the author is able to do so well is bring readers up to date without slowing down the story. Readers new to the Bodies of Art series they will not necessarily need to start with book one to understand what is going on completely in book 4. The bodies series remind me of the style of Ocean movies where the readers are reading one things but what might be happening is completely different and readers will not be disappointed. Readers will feel they are running a race but with moments of being able to slow down and dig into the characters back stories and why act, why they feel and why each one has a passion for art recovery. Ritter Ames is able to bring part of the world alive. To the point readers will feel like they are walking the streets of London and so much more. Ritter is able to take a write a story bringing the characters and locations to life almost with out any effort. Thank to you to Henry Press and Netgalley for this Advance Copy
Wow ! The storyline was so intriguing and full of turns and twists . I really didn't wanted to put it down. The characters were so very colorful and interesting that will pull you into every chapter waiting to see what will happen next.you will not be disappointed. A must read for all mystery readers. I received this book for a honest review.
Wow, just wow! Fatal Forgeries starts out like a James Bond movie and just keeps going full speed all the way to the end. Laurel Beacham is amazing, and is at the top of her game, which is an absolute necessity for this book. She literally cannot turn around without facing a kidnapping attempt, a mugging, or a pesky, but very knowledgeable, British reporter who wants more information than Laurel is prepared to give on the Beacham Foundation. We learn a lot more about Laurel's past, why she does what she does, and we get a glimmer of why she is suddenly in so much danger. Loyalties are questioned, friends and people from her past come into play, and some relationships are revealed. But Laurel is mostly on her own in Fatal Forgeries and has to use every asset she has to keep herself and her friends and co-workers safe. Unlike Laurel, I could take a breather from all the action, but I literally could not put this book down! The non-stop action, intricate plots and twists and turns in all of the books in the Bodies of Art series are something I love, and I don't know what I'm going to do now that I have to wait for the next book to come out! I highly recommend this series, and while all the books can stand alone, you really do not want to miss one bit of the story and action from any the books in this series. I received a copy of this book from NetGalley. All thoughts and opinions are my own.
Title: Fatal Forgeries - Bodies of Art Mystery Book 4 Author: Ritter Ames Publisher: Henery Press Pages: 284 Genre: Mystery, Thrillers & Suspense Sub-Genre: Amateur Sleuths; Cozy; Women Sleuths; International Mystery & Crime ISBN: 9781635112191 ASIN: B06XGPVNXH Reviewed For NetGalley and Henery Press Reviewer: DelAnne Rating: 4.75 Stars When art recovery expert Laurel Beacham’s personal and professional worlds collide, she learns no good theft goes unpunished. Incomplete intel and a missing source compel her to make a huge mistake, and she’s left with a divided team. Every retrieved masterpiece has a price—and the cost of forgeries can be deadly. This time Laurel could lose not only her best lead, but also her most trusted ally. The stakes have never been higher, forcing her and her partner, Jack, to go on the run, crisscrossing Europe to evade the criminals. Except instead of two masterminds working against them, they realize there might be three. With no time to lose, Laurel and her team must pool their resources and work to set aside their differences before they become the next fatalities. The series takes you all over in search of the answers needed. With clues and red herrings abound to keep readers glued to the story and guessing till the end. Balanced characters that come across as believable.
This fourth in the series of Bodies of Art Mysteries carries on with Laurel still trying to save masterpieces. However, there are others out there (at least two and now possibly, three) who have other intentions for these masterpieces. In the last book, Laurel discovered someone on her team was a double spy. Is this happening again? Laurel is pretty much flying solo in this book of the series. Certain details have the whole team not knowing who to trust. An action packed mystery series that takes you all around the globe in search of art, forgeries and criminals. Thanks to Henery Press and Net Galley for providing me with a free e-galley in exchange for an honest, unbiased review.