Overview

No overview.

Inscription

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Marks and Labels

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Provenance

Painted for the sitter's first husband, Thomas Scott Jackson [d. 1791]; by descent to the sitter's daughter, Maria [d. 1830], who married Sir John Grey-Egerton, 8th Bt. of Oulton; by descent to Sir Philip Grey-Egerton, 12th Bt. [1864-1937]; sold c. 1905 to (Thos. Agnew & Sons, London). (Robert Langton Douglas (1864-1951), London); [1] purchased by J. Pierpont Morgan, Sr. [1837-1913], New York; bequeathed to his daughter, Juliette [Mrs. William P. Hamilton], New York; sold December 1936 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh; gift 1937 to NGA.

Exhibition History

1857
Art Treasures of the United Kingdom: Paintings by Modern Masters, Art Treasures Palace, Manchester, 1857, no. 77, as Lady Broughton.
1864
Pictures by Italian, Spanish, Flemish, Dutch, French and English Masters, British Institution, London, 1864, no. 97.
1905
Eleventh Annual Exhibition on Behalf of the Artists' General Benevolent Institution, Thos. Agnew & Sons, Ltd., London, 1905, no. 21.
2002
George Romney (1734-1802), Walker Art Gallery, Liverpool; National Portrait Gallery, London; The Huntington Library, Art Collections, and Botanical Gardens, San Marino, 2002, no. 25, repro. (shown only in San Marino).

Bibliography

1904
Ward, Humphry and William Roberts. Romney. 2 vols. London, 1904: 1:105, 106; 2:84.
1907
Roberts, William. Pictures in the Collection of J. Pierpont Morgan at Prince's Gate & Dover House, London: English School. London, 1907: unpaginated.
1941
Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 171, no. 94, as Lady Broughton.
1942
Book of Illustrations. National Gallery of Art, Washington, 1942: 241, repro. 18, as Lady Broughton.
1949
Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 114, repro., as Lady Broughton.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 116, as Lady Broughton.
1966
Henderson [later Jaffé], Patricia. George Romney. Maestri del colore series, no. 250. Milan, 1966: color pls. 10-11.
1968
European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 103, repro., as Lady Broughton.
1969
Watson, Ross. "British Paintings in the National Gallery of Art." The Connoisseur 172 (1969): 55-56, repro. 55.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 308, repro., as Lady Broughton.
1975
Walker, John. National Gallery of Art, Washington. New York, 1975: no. 510, color repro.
1979
Sutton, Denys. "Robert Langton Douglas. Part III." Apollo 109 (June 1979): 426 [144], fig. 36.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 365, no. 508, color repro., as Lady Broughton.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 354, repro., as Lady Broughton.
1992
Hayes, John. British Paintings of the Sixteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1992: 230-232, color repro. 231.
2011
Pergam, Elizabeth A. The Manchester Art Treasures Exhibition of 1857: Entrepreneurs, Connoisseurs and the Public. Farnham and Burlington, 2011: 313.

Conservation Notes

The medium-weight canvas is twill woven; it has been lined. The ground is white, smoothly applied and of thin to moderate thickness. The painting is executed smoothly and fluidly, with transparent layers in the darks and low impasto in the highlights. X-radiographs have revealed slight pentimenti; the neckline of the dress has been moved about one inch to the right and is lower than it first was, the folds of the sleeve above the elbow originally followed more the curve of the arm, and the folds in the green drapery to the left of the sleeve were once more broadly curved. The painting was cleaned and restored by Romney in 1795. The painting is in good condition except for heavy retouching in the darks at lower right over fine traction crackle caused by bitumen. The natural resin varnish has discolored yellow moderately.

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