Helen Cumberly glanced again at the astonishing picture.
“Do you mean,” she began, “that there is a living original?”
Olaf van Noord bowed absently, and left her side to greet one who at that moment entered the studio. Something magnetic in the personality of the newcomer drew all eyes from the canvas to the figure on the threshold. The artist was removing garish tiger skin furs from the shoulders of the girl—for the new arrival was a girl, a Eurasian girl.
She wore a tiger skin motor-coat, and a little, close-fitting, turban-like cap of the same. The coat removed, she stood revealed in a clinging gown of silk; and her feet were shod in little amber colored slippers with green buckles. The bodice of her dress opened in a surprising V, displaying the satin texture of her neck and shoulders, and enhancing the barbaric character of her appearance. Her jet black hair was confined by no band or comb, but protruded Bishareen-like around the shapely head. Without doubt, this was the Lady of the Poppies—the original of the picture.
“Dear friends,” said Olaf van Noord, taking the girl's hand, and walking into the studio, “permit me to present my model!”
Following, came a slightly built man who carried himself with a stoop; an olive faced man, who squinted frightfully, and who dressed immaculately.
“What a most... EXTRAORDINARY-looking creature!” whispered Denise Ryland to Helen. “She has undoubted attractions of... a hellish sort... if I may use... the term.”
“She is the strangest looking girl I have ever seen in my life,” replied Helen, who found herself unable to turn her eyes away from Olaf van Noord's model. “Surely she is not a professional model!”
The chatty reporter (his name was Crockett) confided to Helen Cumberly:
“She is not exactly a professional model, I think, Miss Cumberly, but she is one of the van Noord set, and is often to be seen in the more exclusive restaurants, and sometimes in the Cafe Royal.”