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Always speaking her mind in public, Kate Rendell is ill-suited for any bachelor in Sussex. But, when an admirer of her family's famous portrait strikes her fancy, it seems that the un-matchable girl has finally met her match...
Always speaking her mind in public, Kate Rendell is ill-suited for any bachelor in Sussex. But, when an admirer of her family's famous portrait strikes her fancy, it seems that the un-matchable girl has finally met her match...
Mr. Josiah Crowell heaved a huge sigh. Although his position as business advisor of the Rendell estate made it inappropriate for him to display his emotions, this time he couldn't help it. Miss Kate was disputing his advice. Again.
He pushed his spectacles lower down on his nose and peered over them to examine his client more closely. What's the matter with the girl? he asked himself in annoyance.
Yet it had all started out so well. The drive from London yesterday, his companion on the journey, the night spent at the inn in Ipswitch, and even the weather—they'd all been extraordinarily pleasant. He'd arrived here at Rendell Hall this morning in the highest spirits. He'd convinced himself that there would be no difficulty with Miss Kate Rendell this time, for most of the matters that brought him were trivial. But here he was, right in the middle of a bumble-bath.
She stood across the room from the library table where he sat, her pointed chin tilted upward, her lips pressed tightly together, and her arms crossed over her chest in a stance that spoke loudly of her opposition. Perhaps he should have anticipated this difficulty. Kate Rendell was nothing if not decided. And when she made up her mind, there was little anyone could do to change it.
Her appearance was certainly appealing (soft, brown hair now carelessly piled atop her head, perfect oval face, patrician nose, and dark-brown eyes that seemed to hold secrets a man immediately yearned to unlock), so appealing, in fact, that Mr. Crowell did not like to think of her as stubborn. At this moment, however, he felt that no other word would do. Her father, the late Viscount, had never been headstrong, and her mother, Lady Isabel Rendell (who was at this moment sitting near the fire on the far side of the room, calmly stitching away at her embroidery), was always pleasant and agreeable. Yet—there was no doubt of it—their daughter was stubborn. Stubborn to the point of obstinacy.
He wondered, as he'd often done before, if that "decidedness" was the reason she was still unwed at the age of twenty-four. Stubbornness was not a quality that men found endearing. He himself thought her quite irksome when she grew obstinate, even though he was very fond of her at other times. And obstinate she was at this moment. After all, what he'd asked of her was not so very difficult. He only wanted her to speak to Lord Ainsworth, not necessarily to accede to his request.
Lady Isabel, as if she'd read his mind, spoke up at that moment. "I don't wish to interfere, Kate, my love, for you are the arbiter of our affairs, not I, but it does seem to me that Mr. Crowell is not asking so very much of you."
"Not asking much of me?" The tall young woman swung about and threw her mother an irritated glare. "How can you say that? He brought the interloper right into our home without so much as a by-your-leave!"
Josiah Crowell sighed again. "There wasn't time to inform you, Miss Kate. His lordship's letter reached my desk only two days ago. In it, he explained that he would be free to come to Suffolk only these two days. And since I had already planned to come out from London also, it seemed convenient—"
Kate Rendell stopped him with a wave of her hand. "Did it not strike you as an utterly ridiculous request, as well as a presumptuous one?"
"It did not seem so to me." He looked at her over his spectacles, his eyes pleading. "If I may be permitted read his letter to you ...?"
Kate was about to cut him off again, but his helpless expression kept her from doing it. Mr. Crowell had been the business agent for the family for fifty years, and her father had been quite right when he spoke of him as both sensible and loyal. The agent did not deserve to be ill-treated. "Very well, read it if you must," she said grudgingly and threw herself into the nearest chair.
Mr. Crowell sifted through the papers in front of him and pulled out the document in question. "'My dear Mr. Crowell,'" he read aloud, "'I am writing to you in regard to a painting for which I have been searching for several years. Though unsigned, it was painted more than one hundred years ago by my grandfather, John Gerard, Earl of Ainsworth, who was considered a gifted artist. The painting disappeared from our estate during the upheaval caused by the Young Pretender's march south from Scotland in 1745. My agents inform me that a painting, called Girl with Persian Shawl, owned by the estate of the Viscount Rendell, seems to match the description of the missing Ainsworth work. I would very much appreciate your obtaining permission for me to call at Rendell Hall to see the painting sometime this week, when I plan to be in town.'"
Crowell removed his spectacles and rubbed his nose. "The gentleman adds in a post script," he said, keeping a wary eye on his client, "that, should your painting turn out to be the missing work, he is willing to recompense you in the sum of 500 pounds."
"Indeed!" Kate responded in a voice of ice. "How good of him!"
"It is, I believe, a more than generous offer for an unknown artist's work. A very generous offer, I assure you. Why, I've heard of a Rowlandson that went for half that price."
Kate rose from her chair in slow dignity, like an offended goddess. "I have no interest in the gentleman's 'generosity.' The painting is not for sale. The very suggestion that it does not belong to us—that it may have been acquired by dealings with looters or smugglers—is insulting!"
"But my dear," murmured her mother, pausing to wet the end of a piece of yarn with her tongue and thread her needle, "it didn't seem to me that the letter accuses us of haying acquired the painting illegally."
"The suggestion is implicit in his reference to his painting's 'disappearance' in the upheaval of war. Let's make short work of this, Mr. Crowell. Go and tell the man to take himself off."
Crowell fingered his neckcloth nervously. "Would you not consider telling him yourself, my dear? He seemed very sure that his informants had found the right artwork. I don't mink I can be as convincing as you in dismissing his reasoning."
"Good God, man, you needn't reason with him at all!" Kate snapped. "Just tell him to go!"
"But he's come all the way from London—"
"I don't care if he's come from Timbuktu! I won't—"
"Come now, Kate," scolded her mother mildly, "I see no reason for you to raise a dust. The poor man has been cooling his heels in the drawing room for half an hour, and none of us has even thought to offer him so much as a cup of tea. You know that I dislike to interfere with your decisions, but, really, someone must go to him."
Kate's imperious posture wilted. Her mother's gentle reprimand made her ashamed of her own short temper. "You're right, Mama," she said with a defeated sigh. "Very well, I'll see to him. But in future, Mr. Crowell," she added on her way to the door, "I hope you'll refrain from inviting visitors to our premises whose object is to denude us of our precious artifacts."
As she strode down the hall to the drawing room, Kate seethed. Lord Ainsworth, she thought, must be a crafty old codger to have arranged a visit like this without warning. He probably knew that what he was asking was worse than presumptuous! What business had he to question the rightful ownership of anything under this roof?
On the threshold of the drawing room, she paused to calm herself and, without making her presence known, eyed the man who stood in the center of the room, his back to her. The tilt of his head and the manner in which his hands were clasped behind his back suggested that he was completely absorbed in studying the painting over the fireplace. Kate took a moment to study it, too.
She'd never really liked the work, despite the fact that the family had always considered it the finest painting in their collection. It was a portrait of a great-great-aunt, Kate had been told. The girl in the painting was undoubtedly beautiful, and the shawl that was draped from her left shoulder to hang in luxurious splendor over her right arm—a heavy but lustrous dark-blue twilled silk, with imaginatively ornate silver, green, and rust-colored leaves subtly interwoven throughout—made a dramatic contrast to the soft white gown she was wearing. It was undeniably a magnificent painting. But Kate had always been put off by the look of arrogance in the girl herself. Something about the haughty tilt of her head, the supercilious expression of her mouth, and the dark, hooded eyes looking out at her viewers with a sidelong glance, as if she were challenging their right to stare at her—all this made Kate dislike her. Nevertheless, she would never consider giving up the painting. It was a family treasure, and so it would remain. "She is quite lovely, isn't she?" she asked aloud.
"Yes, very," the man said without turning. "Except for—" Then, shaking himself from his reverie, he turned round.
The first sight of him startled her. Lord Ainsworth was younger than she'd imagined, certainly not past thirty, startlingly light-eyed, and—though she was reluctant to admit it—quite prepossessing in spite of his dark hair slightly receding from his forehead. "Except for what?" she couldn't resist asking.
"Except for a certain arrogance in her expression." He took a step toward her and smiled. "Miss Rendell, I take it?" he asked as he made his bow. "How do you do, ma'am? I'm Harry Gerard."
"Lord Ainsworth," she said with strict formality, returning his bow but not offering her hand.
Aware of the slight, his own smile faded. "I hope my observation about the girl in the shawl didn't offend you."
"No, it didn't. I expected it of you."
"Yes. It is good strategy, is it not, to belittle a work which you really desire to purchase?"
It was an offensive remark, but the only indication Lord Ainsworth gave of taking offense was a slight lift to his left eyebrow. "I don't belittle it at all," he said gently. "The girl's expression in no way detracts from the superb artistry of the work." He turned again to the painting. "I'm sorry that it isn't—"
"For sale? And so you should be, for I will never part with it."
He heard the ice in her voice and looked back at her, the left eyebrow rising higher. "Excuse me, Miss Rendell, but you needn't—"
"I must say, my lord," she cut in with an impatient toss of her head, "that I don't understand the cause of your visit here. In fact, I cannot imagine how you came to have any information about this painting at all. I can only assume that your agents bribed one of my staff to give them details of the possessions in this house."
"Not so, I assure you," the gentleman said, the tone of his denial not only lacking in hostility but actually pleasant. "The painting is listed in the Compendium Pictorial, you see, and the description there, though admittedly inadequate, made me believe—"
"Be that as it may," Kate interrupted impatiently, "there is no question at all that the work belongs to the Rendell estate. Though it is unsigned, there is evidence that it was painted early last century by Sir Anthony Van Dyke when he came to England."
"I don't doubt—"
"I assume you will argue that a painter of Van Dyke's acclaim would not be so remiss as to leave a work unsigned, and that, therefore, nothing on the painting can attest to its origins—"
"Miss Rendell, I make no such—"
"—nevertheless," Kate went on as if he hadn't spoken, "there is good and sufficient evidence in the family records to prove its origin."
"Miss Rendell, I have not the slightest—"
"The household accounts of the year 1625," she proceeded grandly, "show a payment of ninety pounds for a portrait of my great-great-aunt, Matilda Rendell Quigley, to a certain A.V.D."
"I'm quite sure you're—"
"And even the most suspicious connoisseur would agree that the confluence of the year Van Dyke was painting portraits in this country with the initials in the records is proof enough even to convince a court of law."
"My dear lady, a lawsuit was never consid—"
"As far as I'm concerned, however, it doesn't matter who painted the portrait, or when. It has hung here in this drawing room all my life. I'm accustomed to seeing it there, I would not part with it if I were offered ten times the amount you mentioned in your letter."
"Don't even think of offering more, my lord! I would not part with it for any—"
"Miss Rendell, enough!" The gentleman, laughing, put up his hands as if to protect himself from further onslaught. "Let me insert a word, please!"
Kate, startled by so unaccustomed an interruption, could only gasp, "What—?"
"I've been trying to tell you that you needn't prove anything to me. This is not the painting I've been looking for."
She blinked in astonishment. "It is not—?"
"No. My great-grandfather's style of painting was, I suspect, not nearly so skilled. The painting I'm looking for is probably softer, with less contrast between light and shadow. And the subject, I'm told, is fair-haired, not dark. I saw at once that this is not the right painting. I waited only to apologize to you for my intrusion. Now that I've done so, I have only to thank you and take my leave." He bowed and walked swiftly to the door.
Kate, realizing with a shock that she'd let loose a tirade over nothing, felt her cheeks grow hot in humiliation. She'd made an utter fool of herself!
At the door, he turned back to face her again. "I only wish to add, ma'am," he said, an unmistakable gleam of amusement in his eyes, "that even if I'd had any doubts of the ownership of that painting, seeing you would have dispelled them. The face of the girl in the shawl shows a remarkable resemblance to your own. Good day, ma'am." And he was gone.
Kate gaped after him, her emotions in a turmoil. Why, the dastard had insulted her! He as good as called her arrogant! "The face shows a remarkable resemblance to your own,' indeed! That blasted bounder! And then he'd run off like a craven, without waiting a moment for her reply. It was infuriating! She wished more than anything to have come back at him with a sharp rejoinder. Especially if she could have thought of one.CHAPTER 2
Percival Greenway, Esquire, was down on one knee again.
Kate eyed him with barely concealed impatience. She was sorry she'd permitted the butler to admit him. It was bad enough to have to make conversation with him while seated opposite the Girl with Persian Shawl (the painting that she'd barely noticed all these years but that had suddenly become a source of irritation to her), but to have to endure another of Percy's offers was the outside of enough. No matter how firmly she'd expressed her refusal of his two earlier declarations, Percy seemed unable to take her seriously.
She rose from the sofa. "Please, Percy, not again," she said, turning away from him.
"Can't you allow me to finish?" Percy demanded as he stumbled to his feet.
Percy, apparently unperturbed, responded merely by bending over and brushing the dust from the knee of his britches. The meticulous care with which he did it filled Kate with disgust. Why, the mawworm was showing more concern for his britches than for her response!
She stalked across the room to the window. Outside, a heavy rain was pelting down, blurring her view of the woods beyond the lawn. Only this morning, before the ordeal with Lord Ainsworth, she'd gazed out of these windows upon a very different scene. The autumn landscape had delighted her eyes. The rays of the morning sun, slanting through the trees, had painted the misty air with golden streaks and given the dying leaves a russet glow. But all too soon, the clouds had thickened, darkening the sky much as the visit of Lord Ainsworth had darkened her mood. Then the rain, making a curtain of tears that muddied the colors of the landscape, had turned the gold-and-russet leaves—and her spirit—to a lackluster brown. Blast Ainsworth, she thought, and blast this rain!
To make matters worse, with the rain had come the persistent Percy Greenway. Now she had to put up with another awkward interview—a repetition of his tedious marriage offers. It was the last straw!
Percy came up behind her. "I've written a poem this time," he said, putting a hand on her shoulder. "Perhaps the wording will make my addresses more appealing."
Excerpted from The Girl with the Persian Shawl by Elizabeth Mansfield. Copyright © 2002 Paula Schwartz. Excerpted by permission of OPEN ROAD INTEGRATED MEDIA.
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With more than 30 books to her credit, Elizabeth Mansfield is well known to any fan of Regency romance. Her undisputed talent for witty dialogue, captivating characters, and evocative descriptions also makes her work a perfect introduction for readers who've been longing to give English Regency-set romances a try. This award-winning author's The Girl with the Persian Shawl tells of three women with very different temperaments, and equally disparate goals and desires, whose social arrangements are frequently intertwined. Kate is a strong-willed heiress who would rather remain unwed than settle for a suitor who cannot appreciate her very definite opinions. As Kate sees it, her mother, Lady Isabel, is far too young, loving, and accomplished to bury herself in sedate widowhood...and Kate's plans for Lady Isabel's future are every bit as intricate as that lady's beloved embroidery. Kate is equally determined to see her recently betrothed cousin, Deirdre, make the right choice of bridegroom, and she'll risk more than her reputation to make sure the romantic young beauty follows her head as well as her heart.
From their first meeting (in a dispute over a painting called "Girl With Persian Shawl"), Harry Gerard, Lord Ainsworth, sees Kate as the most opinionated, and most desirable, person of his acquaintance...and soon sets out to persuade the passionate miss to decide for herself that he's her perfect match.
Here's what Elizabeth Mansfield has to say about the English Regency period and The Girl with the Persian Shawl:
Elizabeth Mansfield: I love Jane Austen and her time. The English Regency was a gracious, enlightened period, at least for the upper classes. And language usage was elegant. One hundred and fifty years later, Georgette Heyer, who also loved Austen, tried to make that time her own. Of course, to write with authenticity about a time other than your own is almost impossible, but Ms. Heyer gave it a good try...and I try, too.
Heart to Heart: What facet of Kate's character was the most fun for you to write? And what do you think Harry found most appealing about her?
EM: I'm a heroine only in my dreams. The fun for me is in creating a character who is so real that she almost writes her own part. Is Kate like me? I wish! Of course, I'm always a little in love with my heroes. I try to make them different in each book, but I know they all have certain traits in common: they have to be honest, and they have to be intelligent. Harry is cool -- takes life very much in stride but enjoys its challenges. Harry was probably first attracted to Kate by her ability in verbal sparring. In real life, relationships succeed when initial attraction leads to trust and honest communication. A romance novel leaves out so many of the troublesome things that real life thrusts at us, and it doesn't often deal with the after-years, when the things that attracted us in youth have lost their shine. Margaret Mead, the famous anthropologist, once wrote that, ideally, a woman should have different lovers for the three different stages of her adult life -- one for her youthful years, one for her mature years, and one for her elder years. In romance novels, the heroine finds one love for forever. In this book, Harry said one very true thing about the way attraction between the sexes often begins: "A man always finds a woman charming when he believes she admires him." I believe that's also true the other way around -- we women almost always respond favorably to those whose eyes light up at the sight of us.
I like nothing more than to hear from readers. I can be reached by email at www.elizabethmansfield.com or by regular mail in care of my publisher, Penguin Putnam Inc., 375 Hudson St., NY, NY 10014.
Posted December 9, 2008
Any smart aristocratic female knows to abide by the unwritten rules of the Ton if she wants to catch a suitable husband. Thus most debutantes know when to smile, laugh, and speak. Most also realize not to show any bluestocking-leanings such as handicaps caused by intelligence, a head for business, or obstinacy. Kate Kendell is in the minority of as she does not care about the Regency regimen. Instead she will rip skin off business managers and suitors so that is why she is considered on the shelf with no prospects on the geriatric age of twenty-four. Lord Ainsworth, Harry Girard, visits Kate and her family to admire the highly regarded painting, THE GIRL WITH THE PERSIAN SHAWL. Kate is beyond rude towards Harry who is stunned by her attitude since he had not done anything amiss towards her. Still, he delights in her pounding him so he returns. He even begins to question whether love turned him into a masochist. THE GIRL WITH THE PERSIAN SHAWL is a charming Regency romance that sub-genre fans will enjoy especially the antics of the stubborn but brilliant Kate. Harry is an ideal lead protagonist who wants to simply kiss the kissable Kate, but spends much time fending off her barbs and the love declarations of another woman. Readers will enjoy this witty relationship romp though at times Kate seems to collect too many pelts. Harriet Klausner
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Posted September 20, 2014
Through five chapters scan several more and made a try at the last two to say that this is boring boring boring and really one of the dullest regency or whoever i have read including those austin continuations of darcy and friends page counter@spartaWas this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted November 28, 2014
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