The Very Picture of You (9 page)

‘Sure. But I’d better go, Chloë – I’ve got a sitting.’

‘And I’ve got some press packs to check – but I’ll tell Nate that he’s got a date with you on Friday.’

A date with Nate, I thought dismally as I hung up.

I ordered the cab then began to get my things together for the sitting with Mrs Carr. Her daughter had already specified the size of canvas, so I took out the one that I’d primed, checked that it was properly stretched, then put my canvas bag and easel by the front door. I was just reaching for my coat when the phone rang.

I picked it up. ‘Ella? This is Alison from the Royal Society of Portrait Painters. Do you remember we spoke before Christmas – when you were first elected?’

‘Of course I do. Hi.’

‘Well, I’ve just had an enquiry about you.’

‘Really?’ My spirits lifted at the possibility of another commission. ‘Who’s it from?’ Through the window I could see the cab pulling up.

‘It’s slightly unusual in that it’s for a posthumous portrait.’

My euphoria evaporated. ‘I’m afraid I don’t do them. I find the idea too sad.’

‘Oh, I didn’t realise that you felt like that – I’ll make a note. Some of our members do do them, but we’ll put on your page that you don’t. Not that these requests arise all that often, but it’s good to know the position. Anyway, I’m sure there’ll be other enquiries about you before long.’

‘Fingers crossed…’

‘So I’ll be in touch again sometime.’

‘Great. Erm… Alison, do you mind if I ask you…?’

‘Yes?’

‘Just out of curiosity – who was it from? This enquiry?’

‘It was from the family of a girl who was knocked off her bike and killed.’ I felt goose bumps stipple my arms. ‘It happened two months ago,’ Alison went on. ‘At Fulham Broadway. In fact, there’s been a bit about it in the press because the police still don’t know what caused the accident – or who, rather.’

I thought of the black BMW speeding away. ‘I live near there,’ I said quietly. ‘I’ve seen where it happened…’

‘There’ll be a memorial service in early September, at the school where she taught – she was a primary teacher. Her parents have decided to commission a portrait of her for it.’

‘Grace. Her name was Grace.’

‘That’s right. It’s terribly sad. Anyway, her family realise that any painting’s going to take time, so her uncle called me to discuss it. He said that they’d been looking at our artists and had particularly liked your work – plus the fact that you’re a similar age to Grace.’

‘I see…’

‘In fact, they’re very keen for you to do it.’

‘Ah.’

‘But I’ll tell him that you can’t, shall I?’

‘No… I mean, yes. Tell him… that…’

‘That you paint only from life?’ Alison suggested.

‘Yes… But please say I’m sorry. And give them my condolences.’

‘I will.’

From outside I heard the impatient beeping of the cab’s horn so I said goodbye, locked up, then went out to the car. It was the red Volvo again; the driver put my easel and canvas in the boot while I climbed into the back.

He sat behind the wheel then looked at me in the mirror. ‘Where to this time?’

I gave him the address and we set off.

‘So who are you painting today?’ he asked me as we drove through Earl’s Court.

‘An elderly lady.’

‘Lots of wrinkles then,’ he laughed.

‘Yes – and lots of character. I like painting old people. I love looking at paintings of old people too.’ I thought of Rembrandt’s tender and dignified portraits of the elderly.

‘You’re going to paint me, one day – don’t forget now!’

‘Don’t worry – I won’t forget,’ I said. He had an interesting, craggy sort of face.

Mrs Carr’s flat was in a mansion block in a narrow street close to Notting Hill Gate. I paid the driver, got out of the cab, then he handed me my equipment. To my left was an antique shop, and to the right a primary school. I could hear children’s voices and laughter and the sound of a ball being kicked about. I pressed the
bell for flat 9 and after a moment heard Mrs Carr’s daughter, Sophia, over the intercom.

‘Hi, Ella.’ The door buzzed open and I pushed on it. ‘Take the lift to the third floor.’

The interior of the Edwardian building was cold, its walls still clad in the original Art Nouveau tiles in a fluid pattern of green and maroon. I stepped into the antiquated lift and rattled up to the third floor where it stopped with a sonorous ‘clunk’. As I pulled back the grille I could see Sophia waiting for me at the very end of the semi-lit corridor. Mid-fifties, she was dressed youthfully in jeans and a brown suede jacket, her fair hair scraped into a ponytail.

‘It’s nice to see you again, Ella.’ As I walked towards her she looked at the equipment. ‘But that’s a lot to lug about.’ She stepped forward. ‘Let me help you.’

‘Oh – thanks. It’s not heavy,’ I added as she took the easel. ‘Just a bit awkward.’

‘Thanks for coming to us,’ she said as I followed her inside. She shut the door. ‘It makes it so much easier for my mother.’

‘That’s fine.’ I didn’t add that I like painting people in their own homes: it gives me important insights into who they are – their taste, how much comfort they prefer and how tidy they like these things; I can tell, from the number of family photos, how sentimental they are and, if there are invitations to be seen, how social. All this gives me a head start on my subjects before painting even begins.

‘Mum’s in the sitting room,’ Sophia said. ‘I’ll introduce you, then leave you to it while I do a bit of shopping for her.’

I followed her down the hallway.

The sitting room was large with two green wing-back chairs, a lemon-yellow chaise longue and a cream-coloured sofa. A large green-and-yellow Persian rug covered most of the darkly varnished parquet-tiled floor.

Mrs Carr was standing by the far window. She was tall and very slim, but slightly stooped, and she leaned on a stick. Her hair was tinted a pale caramel colour and was set in soft layered waves. In profile her nose was Roman, and her eyes, when she turned to look at me, were a remarkable dark blue, almost navy.

Sophia put the easel down. ‘
Mummy
?’ She’d raised her voice. ‘This is
Ella
.’

‘Hello, Mrs Carr.’ I extended a hand.

She took it in her left one. Her fingers felt as cool and smooth as vellum. As she smiled, her face creased into dozens of little lines and folds. ‘How nice to meet you.’

Sophia took my parka. ‘Can I get you a cup of coffee, Ella?’

‘Oh, no thanks.’

‘What about
you
, Mummy? Do you want some
coffee
?’

Mrs Carr shook her head, then went over to the sofa and sat down, leaning her stick against the arm.

Sophia waved to her. ‘I’ll be back around four –
four
, Mummy!
Ok-ay
?’

‘That’s fine, darling. No need to shout…’ As we heard Sophia’s retreating steps Mrs Carr looked at me, then shrugged. ‘She thinks I’m deaf,’ she said wonderingly. The front door slammed, creating a slight reverberation.

I took a closer look at the room. One wall was lined with books; the others bore an assortment of prints and
paintings that hung, in attractive chaos, from the picture rail. I opened my bag. ‘Have you lived here long, Mrs Carr?’

She held up her hand. ‘Please call me Iris – we’ll be spending quite a lot of time together, after all.’

‘I will then – thanks.’

‘But to answer your question – fifteen years. I moved here after my husband died. We’d lived not far away, in Holland Street. The house was too big and too sad for me on my own; but I wanted to stay in this area as I have many friends here.’

I opened up the easel. ‘And do you have any other children?’

Iris nodded. ‘My younger one, Mary, lives in Sussex. Sophia’s just down the road in Brook Green; but they’re both very good to me. This portrait was their idea – rather a nice one, I think.’

‘And have you ever been painted before?’

Iris hesitated. ‘Yes. A long time ago…’ She half-closed her eyes as if revisiting the memory. ‘But… the girls suddenly said that they wanted a picture of me. I did wonder whether I
wanted
to be painted at this age – but I have to accept the fact that my face is now an
old
face.’

‘It’s also a beautiful one.’

She smiled. ‘You’re being kind.’

‘Not really – it’s true.’ I felt that Iris and I were going to get on well. ‘So… I’ll just get everything ready.’ I got out the paints and my palette. I tied on my apron and spread a dustsheet around the easel. ‘And did you have a career, Iris?’

She exhaled. ‘Ralph was in the Foreign Office, so
that
was my career, being a diplomatic wife – dutifully flying the flag in various parts of the globe.’

‘Sounds exciting – so where did you live?’

‘In Yugoslavia, Egypt and Iran – this was before the revolution – and in India and Chile. Our last posting was in Paris, which was lovely.’ As Iris talked I studied her face, seeing how it moved, and where the light fell upon her features.

I got out my pad and a stump of charcoal. ‘It sounds like a wonderful life.’

‘It was – in most ways.’

I sat in the wing-backed chair nearest Iris, looked at her, and began to make rapid marks: ‘I’m just doing a preliminary sketch.’ The charcoal squeaked across the paper. ‘And do you come from a diplomatic background yourself?’

‘No. My stepfather was in the City. So are you going to paint me sitting here?’

‘Yes.’ I lowered the sketchpad. ‘If you’re happy there.’

‘I’m perfectly happy. And is the light satisfactory?’

‘It’s lovely.’ I glanced at the window, through which I could see the dome of the Coronet Cinema and behind it a patch of pale sky. ‘There’s a lot of high cloud today, which is good because it eliminates strong shadows.’ I carried on drawing, then turned the pad round to show Iris what I’d done. ‘I’m going to paint you like this, in a three-quarters position.’

She peered at it. ‘Will my hands be in the picture?’

‘Yes.’

‘In that case I’ll wear one or two rings.’

‘Please do – I love painting jewellery.’ I wiped a smudge of charcoal off my thumb.

‘And what about my clothes?’ Iris asked. ‘Sophia told me that you like to have some say in what your sitters wear.’

‘I do – if they don’t object.’ I thought of Celine.

‘I don’t object in the slightest.’

‘You’re very easy to work with,’ I said gratefully.

Iris looked puzzled. ‘Why shouldn’t I be? You’re going to deliver me up to
posterity
– the least I can do is to cooperate. My daughters say that your portraits are so vibrant that one almost expects the people in them to climb out of the frames.’

‘Thank you – what a lovely compliment.’

‘But
I’ve
not yet seen one myself.’

‘Ah.’ I should have brought some photos of them with me. ‘Do you have a computer, Iris?’ She shook her head. ‘Then I’ll show you some images of them on my mobile phone – it’s got a good screen.’

I got out my phone, went to ‘Gallery’ then touched one of the thumbnail images and handed the phone to Iris.

She brought it close to her eyes then nodded appreciatively. ‘That’s Simon Rattle.’

I nodded. ‘The Berlin Philharmonic commissioned it last year – I went there for a week and painted him every day in between rehearsals. He was a good, patient sitter.’

‘I’ll try to be the same.’

I took the phone from Iris, touched another image, then handed it back to her. ‘This is P. D. James.’

‘So it is… I see what my daughters mean – there’s such a
vitality
to your work.’

As Mrs Carr gave me back my phone I noticed that I had new e-mails. I touched the inbox and saw a flyer from the V&A and a message from Chloë. At that
moment a new e-mail arrived – one that had been forwarded automatically from my website. I felt a tingle of excitement because it was likely to be an enquiry; I could see a bit of the first line,
Dear Ella, My…
but resisted the temptation to open it as I didn’t want to risk annoying Iris – I was here to paint her, not to read my messages. I put the phone in my bag.

‘So now we’ll decide what I’m to wear,’ said Iris. ‘Please come.’

Reaching for her stick, she pushed herself to her feet and I followed her down the corridor into her bedroom. It was large and light, with pale-blue chintz curtains and a blue candlewick bedspread. Against one wall was a big Art Deco wardrobe in a walnut veneer. As Iris opened its doors, a faint scent of lily-of-the-valley drifted out.

‘Can I help you get things out?’ I asked her.

‘No… I can manage. Thank you.’ Iris leaned her stick against the wall, then, with slightly shaky hands took out a pink, lightly patterned dress and a blue tweed suit. She laid them on the bed. ‘What about these?’

I looked at the garments, then at Iris. ‘Either would look good. But… the suit, I think.’

Iris smiled. ‘I hoped you’d say that. Ralph bought it for me in Simpson’s on a home leave one time – he couldn’t really afford it, but he saw how much I liked it and wanted me to have it.’

‘It’s perfect. So what jewellery will you wear?’

‘A lapis lazuli necklace that I had made when I was in India and my engagement ring.’

Iris went to her dressing table and lifted the lid of an ornately carved sandalwood box. As she did so I glanced
round the room. There was a gilded mirror on one wall, flanked by a pair of small alpine paintings. Over the bed was a silk wall hanging of a crested crane. A blue Persian glass vase stood in the window, casting a cobalt shadow on to the sill.

‘Would you kindly get my stick?’ I heard Iris say. ‘It’s leaning against the wall there, by the wardrobe.’

As I did so I noticed a painting hanging next to her bed. It was of two little girls playing in a park. They were about five and three and were throwing a red ball to each other while a small dog darted at their feet in a blur of brown fur. On a bench close by, a woman in a white apron sat knitting.

I stared at it. ‘What a lovely picture.’

Iris turned. ‘Yes… that painting is very special. In fact, it’s priceless,’ she added quietly.