George Romney

three-quarter length, seated in a red and green dress, a landscape beyond

Anonymous sale, Christie's London, 20th July 1990, lot 326 

London, Incorporated Socirty of Artists, 1771

A. Kidson, George Romney 1734-1802, 2002, p. 85

STRUCTURE The canvas has been lined. PAINT SURFACE The painting appears to be in good condition. There are no apparent areas of paint loss or abrasion to the surface. ULTRAVIOLET Examination under ultraviolet light reveals one very small area of old retouching to the shoulder of the child and two very minor areas of old retouching to the shawl of the principal sitter. There is an uneven layer of slightly discoloured varnish overall. FRAME Held in a carved and gilded frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This tender portrayal of a mother and her infant child, first exhibited at the Society of Artists in 1771 (Romney having left the Free Society the previous year) is the prototype for what was to become a distinct strain within Romney's artistic production during the 1770s. The painting was exhibited alongside the artist's portrait of Major Pearson, an officer in the East India Company, whose son in law, Mr Wogan Browne of Ireland, owned both pictures.

The previous year Romney had painted a sumptuous portrait of an unknown Lady and her Son (Private Collection, UK) and it is though that the commission sparked a new enthusiasm with the artist for the theme of the mother and child. There are clear parallels to be drawn between this painting and later compositions by the artist such as the portraits of Mrs. Richard Cumberland with her son Charles (c.1772, Tate Gallery) and Mrs. Thomas Carwardine and her son, Thomas (c.1775, Private Collection). The composition, effectively Romney's interpretation of Raphael's Madonnas, pre-empts the artists forthcoming trip to Italy, upon which he embarked in 1773 with the miniature painter Ozias Humphries. Equally apparent is the effect of Romney's recent visit to Paris, where he had been exposed to the collection of Raphael's paintings in the Louvre, as demonstrated in the pose and flowing drapery of the central figure.