lower right, FC in monogram and "ft" obscured and difficult to read: F.Cotes ft
Probably painted for the sitter's husband, Thomas Horne; by descent to Henry, Baron Horne of Stirkoke [1861-1929], Stirkoke House, Caithness [Scotland]. (Vicars Bros., London); sold 26 March 1919 to (Thos. Agnew & Sons), London; sold 16 September 1919 to (John Levy Galleries, New York); sold by 1925 to Benjamin F. Jones, Jr. [1868-1928], Sewickley Heights, Pennsylvania; passed to his wife (sale, Parke-Bernet, New York, 4-5 December 1941, 1st day, no. 34, repro.), bought by William R. Coe [1869-1955], Oyster Bay, Long Island, New York; Coe Foundation, New York; gift 1961 to NGA.
- Paintings by Old Masters from Pittsburgh Collections, Carniege Institute, Pittsburgh, 1925, no. 8, as Miss Crewe.
- Extended loan for use by Ambassador David K. E. Bruce, U.S. Embassy residence, London, England, 1961-1969.
- Extended loan for use by the U.S. Embassy, London, England, 1978-
- Heil, Walter. "Portraits by Francis Cotes." Art in America 20 (1931): 2, 6, fig. 5.
- Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 32, as Miss Elizabeth Crewe.
- European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 26, repro., as Miss Elizabeth Crewe.
- European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 82, repro., as Miss Elizabeth Crewe.
- Johnson, Edward Mead. Francis Cotes. Oxford, 1976: 101, no. 293.
- European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 101, repro., as Miss Elizabeth Crewe
- Hayes, John. British Paintings of the Sixteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1992: 44, repro. 43.
The medium-weight canvas is plain woven; it has been lined. The ground is off-white, fairly thickly applied. The painting is executed in smooth, opaque layers, blended wet into wet, except for the background and feigned oval, which are more thinly and translucently applied; the drapery is executed in a relatively rapid and painterly manner with pronounced brushwork and moderate impasto. The impasto has been severely flattened during lining, and there are scattered small retouchings; otherwise the painting is in excellent condition. The varnish has discolored yellow to a significant degree.