An Irresistible Bachelor(97)

Callie nodded while Jack spoke.

"I'd found one with a similar tone years ago, and if they are indeed a pair, it appears that Nathaniel might have had an affair with, or at the very least a romantic interest in, the wife of General Rowe." He looked back down at the painting.

"What are you going to do?" Callie asked him. "Do you want to have the face covered up again?"

There was a long pause.

"Even if it is General Rowe's wife, I think not." As she glanced at him in surprise, he shrugged. "Whatever the implications, I believe the portrait wouldn't be authentic without it."

Grace frowned. "These letters, you're sure they're between him and the general's wife?"




"You should look at them yourself," he said, "but the circumstantial evidence suggests it was her."

"And you think this woman," Grace pointed at the painting, "is the one he was in love with? Sarah Rowe?"

Callie interjected. "The general's wife was a known associate of Copley's, right? I mean, there are notes in Copley's journals that stated she often visited his studio before he left for London because she dabbled in painting as well. Nathaniel commissioned this portrait. It's not inconceivable that he'd put his lady love's face in it, but because of the clandestine love between them, have it covered up. A secret pledge of his feelings, perhaps. Quite romantic, actually. And the timing's right—1775."

Grace laughed softly. "That's a fine theory and I don't doubt some of its merits. There's only one problem. The general's wife was a blond."

Both Jack and Callie turned their heads.

"How do you know?" he demanded.

"I have some expertise in American history," Grace replied with a dry grin. "There are very few portraits of the general's wife. Maybe two at the most, one of which happens to be a miniature owned by the Hall Collection. She most certainly was a blond,"

"So who the hell is that?" Jack asked, frowning.

"Are you sure the letters make reference to the general?" When Jack nodded, Grace said, "Then it could be his daughter, Anne. She was a brunette, took after her father in that regard."

"Really?"



Grace nodded and looked up at the ceiling, tapping one high-heeled shoe.

"Let me see if I can do the math properly. This portrait was done in 1775. Anne would have been sixteen, I think, and Nathaniel Walker would have been about twenty. That sounds on the young side now for a love affair, but back then, girls were married off in their teens regularly." She looked at Jack. "General Rowe's writings suggest he was very protective of his daughter. At one point, I recall reading that he wanted Anne to pursue a spiritual life, and I take that to mean he might even have pushed her to join a religious order. I can certainly see why, if she were falling in love with Nathaniel, she'd want to keep it from her father. At least until there was an engagement and it would be too late." Grace's eyes went to Nathaniel's face. "But Anne died in the fall of 1775, if I remember correctly. Of typhus. Quite a tragedy. Her father never recovered."

They all stared at the painting.

"Perhaps," Callie said softly, "her image was too hard for Nathaniel to bear so he had it covered up."

"It would explain a lot," Grace hazarded. "Especially why it took Nathaniel so long to marry. It was twenty years later when he finally walked down the aisle with Jane Hatte."

"Christ," Jack muttered under his breath. "What a story."

Grace put her hand on his arm. "But you really should show those letters to a few more people first. All we have is a theory at this time."



"I have a feeling that we're right," he murmured.

Grace checked her watch and smiled. "Well, unless you have any other mysteries to solve, I better get changed. The party starts in an hour, right?"

Jack nodded and gave her a kiss on the cheek. "Thanks, Grace."

"No problem. Just remember to pick up the phone the next time I call you for investment advice."

"Deal."

After Grace left, Jack went back to staring at the portrait. "You've done wonderful work."

Callie's laugh was awkward. "That's kind of you to say considering the mistake I made."

"But you've transformed the painting. He has such life in him now. Before, he seemed so gloomy, but now I see him differently. He seems younger, more vibrant. You've done very well."