Provenance
William R. Timken [1866-1949], New York; by inheritance to his widow, Lillian Guyer Timken [1881-1959], New York; bequest 1960 to NGA.
Technical Summary
The medium-fine canvas is plain woven; it has been lined and adhered to a wooden backing. The topmost portion of the oval is filled with recent paint to a depth of 0.4 cm. above a horizontal line above the coiffure. It is probable, therefore, that, as in the case of the pendant, the portrait was originally rectangular in format and has been cut down and added to at the top. The ground is white, thickly applied. The painting is executed in thin, fluid layers, with the face and hair blended wet into wet; in the background the thin washes barely cover the ground. There are major areas of retouching at the top and bottom of the oval and in the sitter's chest, and scattered minor losses and retouchings elsewhere. The dammar varnish was applied in 1960.
Bibliography
- 1965
- Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 32, as by Francis Cotes.
- 1968
- National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 25, repro., as by Francis Cotes.
- 1975
- European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 82, repro., as Circle of Francis Cotes.
- 1985
- European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 101, 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: 46, repro. 45.
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