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Provenance

William R. Timken [1866-1949], New York; by inheritance to his widow, Lillian Guyer Timken [1881-1959], New York; bequest 1960 to NGA.

Bibliography
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 32, as by Francis Cotes.
1968
European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 25, repro., as by Francis Cotes.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 82, repro., as Circle of Francis Cotes.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 101, repro.
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: 46, repro. 45.
Technical Summary

The medium-fine canvas is plain woven; it has been lined and adhered to a wooden backing. The topmost portion of the oval is filled with recent paint to a depth of 0.4 cm. above a horizontal line above the coiffure. It is probable, therefore, that, as in the case of the pendant, the portrait was originally rectangular in format and has been cut down and added to at the top. The ground is white, thickly applied. The painting is executed in thin, fluid layers, with the face and hair blended wet into wet; in the background the thin washes barely cover the ground. There are major areas of retouching at the top and bottom of the oval and in the sitter's chest, and scattered minor losses and retouchings elsewhere. The dammar varnish was applied in 1960.