need?”
Gerrard told him. “The studio must have excellent light-old nurseries are often suitable.”
Tregonning nodded. “We have a large nursery no longer in use. I’ll give orders for it to be cleared and made ready. It has very large windows.”
“Excellent. I’ll inspect it to confirm it will suit. It would be helpful if my room, and that of my man, Compton, could be located nearby.”
Tregonning waved. “I’m sure the inestimable Mrs. Carpenter will be able to arrange matters as you wish.”
Gerrard detailed his other requirements-a long table, a double lock on the door, and other sundry items. Tregonning accepted all without quibble, naming those of his staff who would handle each point.
“I’ve brought all else I need with me-Compton should be arriving shortly with the luggage. While I will at some point have to return to the capital to replenish my supplies, exactly when is impossible to guess.”
Tregonning nodded. “Do you have any idea how long the portrait will take?”
“At this stage, I can’t say. My previous portraits were executed over a period of months; the longest took eight months. However, in those cases, the subjects were well-known to me. In your daughter’s case, I’ll need to spend some time simply observing her before I attempt even preliminary sketches.
“Apropos of that, one matter we should discuss is sittings, and what that term encompasses. For a portrait of the nature you wish, I’ll need, at least initially, to have first call on your daughter’s time. I’ll need to observe her in different situations and settings about this house, her home. It’s essential I have some understanding of her character and personality before I set pencil to paper.” He added, purely as a matter of form, “I assume she understands this and is willing to commit the time necessary for a successful portrait.”
Tregonning blinked. It was the first time Gerrard had seen him anything less than absolutely, unquestioningly confident of all around him.
Jacqueline Tregonning’s assessing look flashed into his mind; a sinking feeling assailed him. Had she agreed to let him paint her?
Tregonning frowned. “She indicated she was willing to sit for a portrait, but I didn’t then know what you’ve just explained. She may well not appreciate the necessity…” He stirred, lips firming. “I’ll speak with her.”
“No. With due respect, it might be better if I did. I could then answer any questions she may have, which will ensure there are no subsequent misunderstandings.” Gerrard held Tregonning’s gaze. “The demands on her time will actually decrease once we commence formal sittings.”
Tregonning’s face cleared; nodding, he relaxed in his chair. “That might be best. She did say she was agreeable, and I’m sure she won’t refuse, but it would be wise for her to know what you need of her.”
Gerrard quietly exhaled. He had much greater confidence in his powers of persuasion than he had in Tregonning’s. The man seemed distant from everything, and that might well include his daughter; while he hadn’t yet gained even an inkling of Jacqueline’s attitude to her father, he didn’t want to risk any adverse reaction from her.
He was even more determined than Tregonning that his portrait of Jacqueline Tregonning would go ahead, and under the most favorable circumstances. So he’d talk to the lady himself, and ensure he got an agreement he could fall back on if she later turned difficult.
Reviewing all they’d covered, he continued, “As I don’t normally accept commissions, I think it wise to be plain about what I’ll eventually deliver. The commission is for a final, framed, full-length portrait in oils of your daughter- unless there’s some major catastrophe that prevents its execution, that’s what I’ll deliver to you within the next year. I, however, will retain all sketches and preliminary works. In addition, I never permit any early viewing of my work-the first you’ll see of it will be the completed work I present to you. Should you not wish to accept it, I will keep the portrait and no commission will apply.”
Tregonning was nodding. “That’s entirely acceptable.” He caught Gerrard’s eye. “You’re also keen to paint the gardens.”
Gerrard blinked. “Indeed.” He glanced at the window; the fabulous gardens that had for decades obsessed him and his peers lay displayed before him. “Whatever sketches and paintings of the gardens I complete will be mine to keep. Should I ever offer any for sale, you will, of course, be given first refusal.”
Tregonning humphed. “I suppose,” he said, levering himself up from the depths of the armchair, “that you’ll want to start exploring the gardens straightaway.”
His gaze still locked on the vista beyond the window, Gerrard rose, too, then turned to meet Tregonning’s old eyes. “Actually, no. I don’t anticipate exploring the gardens, artistically speaking, other than as a backdrop for your daughter, until I’ve got the portrait under way.”
Tregonning was surprised but pleased, indeed, gratified.
Accompanying him back to the drawing room, Gerrard was aware of the irony. He’d come here to paint the gardens of Hellebore Hall, yet despite his obsession with them, ever since he’d laid eyes on Jacqueline Tregonning, he’d been consumed by thoughts of painting her.
Against her allure, not even the Garden of Night could compete.
They returned to the front hall. Lord Tregonning saw him to the drawing room door, but stopped short of entering. “I’ll instruct Treadle and Mrs. Carpenter as to your needs-no doubt they’ll consult with you.”
“Thank you.”
With a nod, Tregonning turned away. Gerrard watched him walk back in the direction from which they’d come. Feminine chatter spilled out of the drawing room. Clearly his lordship intended to seek refuge in his study, leaving him and Barnaby to the tender mercies of Lady Fritham, Mrs. Myles and the censorious Mrs. Elcott.
Accepting the inevitable, he turned and strolled back into the fray. Tea had been served in his absence; Millicent Tregonning smiled and poured him a cup. Accepting it, he chatted to her and Mrs. Myles, seated beside her, regarding his first impressions of the area. Mrs. Myles was instantly recognizable as a mother with daughters to establish; her bright eyes and gushing comments explained why Barnaby was on the other side of the room.
Returning his empty cup, Gerrard excused himself and followed.
Of course, neither he nor Barnaby could truly escape. They would remain the cynosure of local attention until the novelty of their presence faded.
Avoiding the chaise on which Lady Fritham sat absorbed in spirited argument with the severe Mrs. Elcott-clad in gray twill that matched her gray hair, the vicar’s wife behaved as if holding herself ready to be scandalized at any moment-he walked down the room to where the younger crew was holding court, Barnaby unsurprisingly center stage.
The Misses Myles saw him approaching, and quickly shifted to create a space between them. He smiled his practiced smile, and with an easy nod strolled around the group to Jacqueline Tregonning’s side.
Although following Barnaby’s tale, she sensed him draw near. She glanced fleetingly up at him, then moved aside to allow him to stand beside her. Detecting exasperation in her brief glance, Gerrard wondered…then realized she couldn’t study him while he was standing next to her.
His lips eased, curved.
Across the circle, the Misses Myles’s eyes brightened. Without appearing to notice, Gerrard gave his attention to Barnaby. The last thing he wished was to raise any hopes in the Misses Myles’s young breasts.
The thought had him glancing discreetly down, to his left, to where Jacqueline’s breasts rose above the scooped neckline of her gown. Her skin was flawless, creamy white; his fingertips tingled-he would wager that skin was rose-petal soft.
Although of perfectly acceptable style for a young lady some years beyond her first season, Jacqueline’s endowments filled out the gown in a manner guaranteed to draw gentlemen’s eyes. Retrieving his gaze, Gerrard glanced around the circle; other than Barnaby, who he was aware had noticed, the other two gentlemen seemed oblivious of Jacqueline’s charms. Contempt for the familiar, or…?
In between attending Barnaby’s story, Mitchel Cunningham ignored the Myles sisters and shot brief, very brief, glances at Eleanor Fritham, Lady Fritham’s daughter. Eleanor was indeed a beauty, a touch older than Jacqueline and in very different style. She was taller, reed slender, with alabaster skin and long, pale fair hair. Her eyes were cerulean blue, her lashes and brows brown. She was using them shamelessly on Barnaby, her attention slavishly fixed on him.
Much good would it do her. She might be a beauty, yet Gerrard instinctively knew she was unlikely to be of
