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Inscription

in another hand, lower left: A. W. Terror Gallorum (A[rthur] W[ellesley] Terror of the French)

Provenance

Probably Miguel de Alava [1771-1843], Vitoria, Spain;[1] Ricardo Alava, Madrid; sold c. 1902 to (Joseph Wicht, Madrid); sold in 1902 through Mary Cassatt to Henry Osborne Havemeyer [1847-1907], New York;[2] his widow, Louisine W. Havemeyer, [née Elder, 1855-1929], New York; by descent to their daughter, Mrs. P.H.B. Frelinghuysen [née Adaline Havemeyer, 1884-1963], Morristown, New Jersey; gift 1963 to NGA.

Exhibition History
1912
Loan Exhibition of Paintings by El Greco and Goya, M. Knoedler & Co., Inc., New York, 1912, no. 14, as by Goya.
1941
Paintings, Drawings and Prints: The Art of Goya, The Art Institute of Chicago, 1941, no. 83, as by Goya.
1955
Goya; Drawings and Prints, Smithsonian Institution, traveling exhibition, 1955, no. 187, as by Goya (cat. suppl. for the Metropolitan Museum of Art, New York).
1962
On loan to the National Gallery of Art, Washington, 1962-1963, no cat.
1986
Goya: The Condesa de Chinchón and Other Paintings, Drawings, and Prints from Spanish and American Private Collections and the National Gallery of Art, National Gallery of Art, Washington, D.C., 1986-1987, unpaginated brochure.
1988
La Alianza de Dos Monarquías: Wellington y España, Museo Municipal, Madrid, 1988, 161, color repro. 162, 376-377, no. 4.1.13.
1993
Napoleon, Grand Exhibition Hall, Memphis Cook Convention Center, 1993, no catalogue entry.
Bibliography
1908
Calvert, Albert. Goya: An Account of His Life and Works. London, 1908: 142, no. 253.
1916
Beruete y Moret, Aureliano de. Goya, pintor de retratos. Madrid, 1915: 122-123, no. 243, pl. 45 (also English ed. Translated by Selwyn Brinton. London, 1922: 148-149, no. 251, pl. 45).
1924
Mayer, August L. Francisco de Goya. Munich, 1923 (English ed. Translated by Robert West [pseud.]. London, 1924: 67, no. 450, fig. 228).
1928
Desparmet Fitz-Gerald, Xavier. L'oeuvre peint de Goya. 4 vols. Paris, 1928-1950: 2:190, no. 477, pl. 394.
1931
H.O. Havemeyer Collection. Catalogue of Paintings, Prints, Sculpture and Objects of Art. Portland, Maine, 1931: 318, repro. 319.
1951
Sánchez Cantón, Francisco Javier. Vida y obras de Goya. madrid, 1951: 96. Translated by Paul Burns, Madrid, 1964.
1961
Havemeyer, Louisine W. Sixteen to Sixty: Memoirs of a Collector. New York, 1961: 156-157.
1963
Brooke, Humphrey, ed. Goya and His Times. Exh. cat. Royal Academy of Arts. London, 1963: 61 (by Nigel Glendinning).
1964
Trapier, Elizabeth de Gué. Goya and His Sitters. New York, 1964: 38, no. 68, pls. 68, 70.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 61, as by Goya.
1966
Braham, Allan. "Goya's Equestrian Portrait of the Duke of Wellington." The Burlington Magazine 108 (December, 1966): 618-621, appendix.
1968
European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 53, repro., as by Goya.
1969
Harris, Enriqueta. Goya. London, 1969: 87-88.
1970
Gassier, Pierre, and Juliet Wilson. Vie et oeuvre de Francisco Goya. Paris, 1970: 254, no. 900, repro. 262 (also English ed. Translated by C. Hauch and J. Wilson. New York, 1971).
1971
Gudiol y Ricart, José. Goya: 1746-1828; Biography, Analytical Study and Catalogue of His Paintings. Translated by Kenneth Lyons. 4 vols. New York, 1971: 1:146, 316, no. 558; 4:fig. 903.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 160, repro., as by Goya.
1984
Camón Aznar, José. Francisco de Goya. 4 vols. Saragossa, 1984: 3:198.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 404, no. 575, color repro.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 184, repro.
1990
Brown, Jonathan, and Richard G. Mann. Spanish Paintings of the Fifteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1990: 37-41, repro. 39.
Technical Summary

The painting is executed on a fabric support and has been lined to two auxiliary fabrics. A red colored ground of average thickness has been applied overall. The paint is applied in opaque layers with raised brushwork and some impasto in the details and highlights of the white shirt and white feather of the hat. The painting is in secure condition. Numerous small overpaints are scattered throughout the composition, notably in the upper left forehead and shadowed cheek. The profile line of the right cheek and the background to the left have also been reinforced with scattered application of overpaint. The varnish is in poor condition.