A chance encounter sparked by a painter’s work has offered a novelist a striking example of how life’s coincidences can mirror the themes of fiction. Anthony Quinn, author of the 2021 novel *London, Burning*, recently experienced a series of surprising connections involving his latest book, *The Millionaire Waltz*, and the celebrated British actress Susan Hampshire.

Set in the 1920s, *The Millionaire Waltz* features an actress whose family home is located at Carlyle Square, Chelsea—a location that previously held a bohemian reputation. It was while researching this setting that Quinn’s personal and literary worlds unexpectedly intersected.

Several weeks ago, Quinn purchased a pastel and chalk portrait at auction by the artist Robert Buhler, known for his association with prominent figures such as Lucian Freud and Francis Bacon. The painting, titled *Miss Anne and Miss Jane Hampshire*, had been exhibited at the Royal Academy Summer Exhibition in 1968. On the back of the artwork, Quinn discovered a note indicating it was created at “15 Carlyle Square, SW3,” the same address linked to the protagonist of his new novel.

Further investigation revealed that the portraits depicted the older sisters of Susan Hampshire, a renowned actress best known for her role as Lady Glencora Palliser in the 1974 BBC adaptation of Anthony Trollope’s *The Pallisers*. Both sisters had recently passed away following health difficulties. The painting’s connection to Hampshire’s family and the setting of Quinn’s novel was purely serendipitous.

Quinn then encountered Susan Hampshire herself unexpectedly at a members’ club during a Trollope Society dinner. Recognizing her from the television series, Quinn introduced himself and shared the story of the Buhler painting. Hampshire confirmed the family connection and added that Buhler had also painted her solo the following year for the Royal Academy show, commissioned by her mother while the artist lived nearby.

Despite Hampshire’s modesty about her performance in *The Pallisers*, Quinn noted her enduring presence and spirit, describing her appearance as ageless, consistent with public accounts of her lifestyle emphasizing healthy eating and vitality.

This series of events prompted Quinn to reexamine other Buhler works in his collection, including a previously overlooked pastel portrait acquired by his late wife years earlier. The painting, *Study of a Girl, 1944* by Buhler, had hung unnoticed for some time until he chose to reposition it at home.

Quinn’s experiences highlight the often-unexpected intersections between life and art. The convergence of his novel’s setting, the portrait’s origins, and the chance meeting with Hampshire underscore the curious ways that coincidence can inspire and influence creative work.