Forced to marry Hugh le Despenser, the son and grandson of disgraced traitors, Bess de Montacute, just 13 years old, is appalled at his less-than-desirable past. Meanwhile, Hugh must give up the woman he really loves in order to marry the reluctant Bess. Far apart in age and haunted by the past, can Hugh and Bess somehow make their marriage work?
Just as walls break down and love begins to grow, the merciless plague endangers all whom the couple holds dear, threatening the life and love they have built.
Award-winning author Susan Higginbotham's impeccable research will delight avid historical fiction readers, and her enchanting characters will surely capture every reader's heart. Fans of her first novel, The Traitor's Wife, will be thrilled to find that this story follows the next generation of the Despenser family.
A New York Times Bestseller
A New York Times Book Review Editor's Choice
A RARE SEVENTEENTH-CENTURY PAINTING LINKS THREE LIVES, ON THREE CONTINENTS, OVER THREE CENTURIES IN THE LAST PAINTING OF SARA DE VOS, AN EXHILARATING NEW NOVEL FROM DOMINIC SMITH.
Amsterdam, 1631: Sara de Vos becomes the first woman to be admitted as a master painter to the city’s Guild of St. Luke. Though women do not paint landscapes (they are generally restricted to indoor subjects), a wintry outdoor scene haunts Sara: She cannot shake the image of a young girl from a nearby village, standing alone beside a silver birch at dusk, staring out at a group of skaters on the frozen river below. Defying the expectations of her time, she decides to paint it.
New York City, 1957: The only known surviving work of Sara de Vos, At the Edge of a Wood, hangs in the bedroom of a wealthy Manhattan lawyer, Marty de Groot, a descendant of the original owner. It is a beautiful but comfortless landscape. The lawyer’s marriage is prominent but comfortless, too. When a struggling art history grad student, Ellie Shipley, agrees to forge the painting for a dubious art dealer, she finds herself entangled with its owner in ways no one could predict.
Sydney, 2000: Now a celebrated art historian and curator, Ellie Shipley is mounting an exhibition in her field of specialization: female painters of the Dutch Golden Age. When it becomes apparent that both the original At the Edge of a Wood and her forgery are en route to her museum, the life she has carefully constructed threatens to unravel entirely and irrevocably.