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Elisabeth is a picture restorer. This gives her the solitude and independence she needs - living and working alone in her flat. Despite her skills and reliability, Elizabeth undercharges for her work - valuing the worth of the paintings rather more than herself. Her ambitions are modest: beauty to look upon, unintrusive friendships and complete privacy. But when a mysterious and obviously wealthy man commissions her to restore his fabulous collection, an uncharacteristic combination of curiosity and financial need prompts her to accept his offer.

Elisabeth soon realises her error, as the past and the present combine to make privacy her nemesis. As she becomes hostage to her patron, her lover and her friend realise they know nothing about her, or where she might be.

“Her knowledge of the workings of the human mind - or more correctly the soul - is second to none - Ian RankinUndiluted brilliance - The TimesFyfield's writing is always elegant and precise, her characters are finely drawn - Sunday TelegraphFyfield at her best is compelling, disturbing, but always elegant - Minette Walters”

Her knowledge of the workings of the human mind - or more correctly the soul - is second to none - Ian Rankin

Undiluted brilliance - The Times

Fyfield's writing is always elegant and precise, her characters are finely drawn - Sunday Telegraph

Fyfield at her best is compelling, disturbing, but always elegant - Minette Walters

Frances Fyfield has spent much of her professional life practising as a criminal lawyer, work which has informed her highly acclaimed crime novels. She has been the recipient of both the Gold and Silver Crime Writers' Association Daggers. She is also a regular broadcaster on Radio 4, most recently as the presenter of the series 'Tales from the Stave'. She lives in London and in Deal, overlooking the sea which is her passion.

Elisabeth is a picture restorer. This gives her the solitude and independence she needs - living and working alone in her flat. Despite her skills and reliability, Elizabeth undercharges for her work - valuing the worth of the paintings rather more than herself. Her ambitions are modest: beauty to look upon, unintrusive friendships and complete privacy. But when a mysterious and obviously wealthy man commissions her to restore his fabulous collection, an uncharacteristic combination of curiosity and financial need prompts her to accept his offer. Elisabeth soon realises her error, as the past and the present combine to make privacy her nemesis. As she becomes hostage to her patron, her lover and her friend realise they know nothing about her, or where she might be.

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