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Marks and Labels
Amelia Campbell [d. 1813], wife of the sitter, Inverneill, Scotland; probably by descent in the Campbell family. Thatcher M. Adams, New York (sale, American Art Association, New York, 14-15 January 1920, 2nd day, no. 154, repro.), bought by (John Levy Galleries), New York, from whom it was purchased by William R. Timken [1866-1949], New York; by inheritance to his widow, Lillian Guyer Timken [1881-1959], New York; bequest 1960 to NGA.
- Loan for display with permanent collection, Museum of Fine Arts, St. Petersburg, Florida, 1966-1968.
- Styles in Portraiture, Northern Virginia Fine Arts Association, Alexandria, Virginia, 1972, no cat.
- Ward, Humphry and William Roberts. Romney. 2 vols. London, 1904: 1:121-122; 2:24.
- Borenius, Tancred. English Painting in the XVIIIth Century. London, 1938: pl. 60.
- Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 116, as Sir Archibald Campbell.
- European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 103, repro., as Sir Archibald Campbell.
- European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 310, repro., as Sir Archibald Campbell.
- Walker, John. National Gallery of Art, Washington. New York, 1975: no. 514, color repro.
- European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 355, repro., as Sir Archibald Campbell.
- Hayes, John. British Paintings of the Sixteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1992: 245-247, repro. 246.
The canvas appears to be plain woven; it has been lined. The ground is white, thickly applied so that it masks the weave of the canvas. There is a warm brown imprimatura. The painting is executed in thick, opaque layers, blended wet into wet; the head was painted first. There are pentimenti in the black collar and cuffs, which were originally blue. The painting is in good condition. Abrasion and flattening are slight; retouching is confined to the extreme edges. The painting was surface cleaned and revarnished with dammar in 1960; the varnish has discolored yellow only slightly.