“A beautiful name.”

She suspected that Jacob himself knew what she did. He might have told his wife, or he might not. The younger woman seemed a little reserved, but that might just be her manner. She did not touch the baby, but she congratulated both parents on having such a pretty child. Then mother and daughter left.

“So what have you for me?” she asked Jacob.

“Something different, madame. Drawings.” He went to a plan chest and returned with a portfolio containing a number of charcoal and pencil sketches on thick paper, which he placed on a table. “I remembered that you had taken an interest in the work of Marc Blanchard,” he continued, “and I was at his place the other day.”

“Ah. He is well?” She was careful not to sound too interested.

“He is getting old, madame. But I asked him if he had any other work for me—for I have sold a number of his paintings, you know. And he told me that the only thing he had was a portfolio of drawings that he hadn’t looked at in years, and that I was free to take it away and see if there was anything of interest.”

He showed her three. One was a rough sketch of Paris seen from the hill of Montmartre, not especially interesting. Two others were very incomplete life drawings, one of a man, the other of a middle-aged lady in a hat.

“They’re all right …,” said Louise, without much enthusiasm.

“I agree,” said Jacob. “I don’t find them interesting. But then I came upon something else.” His small face gazed at her seriously. “Do you remember that you once made an inquiry about a portrait of a girl? Quite good, we both thought. You asked the identity of the sitter, and I did inquire, but the artist did not tell me.” He produced another sketch. This was a pencil drawing, quite detailed, and he laid it in front of her. Louise recognized it at once.

“It looks like a sketch for that portrait.”

“Exactly, madame. I still have the portrait and I placed them together. There is no question. As a collector, you will well understand that to possess both the portrait and the artist’s sketch is highly desirable. I should certainly wish to sell the two together.”

“Naturally. Though we still don’t know the sitter’s identity.”

“No, madame. At least, not quite.” He reached into the portfolio. “But there is a third item, madame, a charcoal sketch, unquestionably for the same picture, and on this there is a name—as you see.” And he placed the charcoal sketch on the table. At the bottom, quite clearly, the artist had written a single name.

Corinne Petit.