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Provenance

Painted for the sitter; by descent to his son, Richard, 4th Marquess of Hertford [1800-1870]; bequeathed 1870 to his natural son and secretary, Richard Wallace [1818-1890], created Sir Richard Wallace, Bt. in 1871; by descent to Lady Julie Wallace [1819-1897]; bequeathed to her husband's secretary, John Murray Scott [d. 1912], created Sir John Murray Scott, Bt., in 1899 (sale, Christie, Manson & Woods, London, 27 June 1913, no. 109), bought by (E.M. Hodgkins) (Blakeslee Galleries, New York). (Sale, American Art Association, New York, 21-23 April 1915, 3rd day, no. 221, repro.), bought by (Otto Bernet) for George Grant Mason [1870-1955], Tuxedo Park, New York; by descent to G. Grant Mason, Jr., Arlington, Virginia; gift 1968 to NGA.

Bibliography
1913
Armstrong, Sir Walter. Lawrence. London, 1913: 139.
1954
Garlick, Kenneth. Sir Thomas Lawrence. London, 1954: 42.
1964
Garlick, Kenneth. "A Catalogue of the Paintings, Drawings and Pastels of Sir Thomas Lawrence." The Walpole Society 39 (1964): 105.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 190, repro., as Marquis of Hertford.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 222, repro., as Marquis of Hertford
1989
Garlick, Kenneth. Sir Thomas Lawrence: A Complete Catalogue of the Oil Paintings. Oxford, 1989: no. 404, 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: 158-160, repro. 159.
Technical Summary

The medium-weight canvas is plain woven; it was lined in 1968. The ground is white. There is a very thin and transparent warm brown imprimatura. The painting is rapidly and deftly executed in fluid, opaque layers, blended wet into wet, the light passages in rich paint, the dark areas much thinner. X-radiographs show that the ring suspended from the sitter's waist has been shifted slightly to the left. The sitter's right hand is heavily retouched; the retouching lies over the remains of black, suggesting that the hand had been painted out by the artist, that the artist's black paint was removed during a subsequent restoration, and that the form then had to be reintegrated. The paint is somewhat solvent abraded in the background and in the pure blacks, and the impasto was very slightly flattened during lining. There is extensive retouching in the background, and scattered retouching carried out in 1968. The dammar varnish applied in 1968 has not discolored.