Studio of Allan Ramsay

Relined and paint surface slightly pressed. the paint surface is generally well preserved and details in the costume are particularly nicely retained. there is some slight thinness in some of the darks, but this is not too distracting. two small losses can be seen in red drapery at upper left corner. under ultraviolet, one can see scattered retouches in the red drapery; a few small retouches and inpaints of craquelure on face; some retouches in belt and shadowed area to right of tassles. other retouches can be seen here and there in background and around all four edges. overall, for a painting this size, this work is in remarkably good state. In an ornately carved and gilt wood frame with carved crown at upper center; a few minor nicks.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This portrait is a version of Ramsay's celebrated coronation portrait of King George of circa 1761-2, the prime version of which is in The Royal Collection.  A full-length pendant portrait of Queen Charlotte was painted by Ramsay in 1762.  Numerous versions of these portraits were produced to satisfy the demands of the royal couple's friends and relations, official institutions, fellow sovereigns and the colonial governors.  Joseph Moser, who visited Ramsay's studio in Soho Square recorded that it was "crowded with portraits of His Majesty in every stage of their operation.  The ardour with which these beloved objects were sought for by distant corporations and transmarine colonies was astonishing; the painter with all the assistance he could procure could by no means satisfy the diurnal demands that were  made in Soho Square upon his talents and industry..."¹ 

1.  See A. Smart, Allan Ramsay, A Complete Catalogue of His Paintings, New Haven and London 1999, p. 112.