Admission is always free Directions

Open today: 11:00 to 6:00

Provenance

Probably Sir George Robinson, 5th Bt. [1730-1815], Cranford Hall, Northamptonshire; by descent to Sir Frederick Robinson, 10th Bt.;[1] sold to (Arthur J. Sulley & Co., London); purchased 12 September 1913 by Peter A.B. Widener, Lynnewood Hall, Elkins Park, Pennsylvania; inheritance from Estate of Peter A.B. Widener by gift through power of appointment of Joseph E. Widener, Elkins Park, 1942; gift 1942 to NGA.

Bibliography
1915
Roberts, William. Pictures in the Collection of P.A.B. Widener at Lynnewood Hall, Elkins Park, Pennsylvania: British and Modern French Schools, Philadelphia, 1915: unpaginated, repro., as Portrait of Lady Robinson.
1923
Paintings in the Collection of Joseph Widener at Lynnewood Hall. Intro. by Wilhelm R. Valentiner. Elkins Park, Pennsylvania, 1923: unpaginated, repro., as Portrait of Lady Robinson.
1931
Paintings in the Collection of Joseph Widener at Lynnewood Hall. Intro. by Wilhelm R. Valentiner. Elkins Park, Pennsylvania, 1931: 186, repro.
1948
Paintings and Sculpture from the Widener Collection. National Gallery of Art, Washington, 1948 (reprinted 1959): 89, repro., as Lady Robinson.
1954
Garlick, Kenneth. Sir Thomas Lawrence. London, 1954: 28.
1964
Garlick, Kenneth. "A Catalogue of the Paintings, Drawings and Pastels of Sir Thomas Lawrence." The Walpole Society 39 (1964): 169.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 73, as Lady Robinson.
1968
European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 64, repro., as Lady Robinson.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 190, repro., as Lady Robinson.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 222, repro., as Lady Robinson.
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: 154-156, repro. 154.
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 and fluidly, blended wet into wet, with sweeping brushwork (the foliage at upper right has been worked with a palette knife), except in the flesh, where the handling is more restrained; the whites and the yellow of the sash are more thickly painted in dry, dragged brushstrokes, with a low impasto. There is extensive traction crackle, due to the presence of a high proportion of medium, much of which has been retouched. Apart from this the painting appears to be in good condition. The paint surface seems not to be abraded or to have suffered loss, although there is retouching in the lips and right nostril, where small strokes of brilliant red have been added; the paint surface has been slightly flattened during lining. The thick natural resin varnish, pigmented with black, has discolored yellow to a significant degree.