Overview

No overview available.

Inscription

Marks and Labels

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Provenance

Painted for the sitters' father, David Monro Binning [1776-1843], Argaty and Softlaw, Perthshire, Scotland; by inheritance to the elder son in the picture, George Home Monro Binning Home [1804-1884], Argaty; by inheritance to his grand-nephew, Dr. George Home Monro-Home [b. 1865], Argaty; (sale, Christie, Manson & Woods, London, 3 May 1902, no. 97); (Thos. Agnew & Sons, London);[1] sold 1902 to (M. Knoedler & Co., London);[2] purchased by John Woodruff Simpson [1850-1920], New York; by inheritance to his wife, Mrs. John W. Simpson [née Katherine Seney, d. 1943], New York; gift 1942 to NGA.

Exhibition History

1811
Possibly Associated Society of Artists, Edinburgh, 1811, no. 187, as A Portrait of Two Boys.
1912
Loan Exhibition of Old Masters for the Benefit of the Artists' Fund and Artists' Aid Societies, M. Knoedler & Co., New York, 1912, unnumbered catalogue, repro., as The Sons of David Monro Binning.

Bibliography

1901
Armstrong, Sir Walter. Sir Henry Raeburn. London, 1901: 96, repro. opp. 68.
1911
Greig, James. Sir Henry Raeburn, R.A.: His Life and His Works. London, 1911: 38.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 106
1968
European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 94, repro.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 278, repro.
1975
Walker, John. National Gallery of Art, Washington. New York, 1975: no. 526, color repro.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 368, no.518, color repro.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 322, 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: 204-205, repro. 204.

Technical Summary

The medium-weight canvas is twill woven; it has been lined. The ground is white, of moderate thickness. The painting is executed thinly, with smoothly blended brushwork in the heads and costume, fluid and sketchy brushwork in the hands, collars, and background, and low impasto in the highlights. The paint surface is slightly abraded, increasing the transparency in some of the darks and the sky, and has been severely flattened during lining. There is scattered retouching. The thick natural resin varnish has discolored yellow to a significant degree.

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