NMW A 67

The sitter is shown three-quarter length and three-quarter face standing before a grey plain wall and to the left, the base of a pilaster. She rests her left arm on a ledge covered with green drapery descending from above. She is richly dressed with rows of pearls encircling her chest, looped to a blue bow at the centre. Fine buttons fasten her low-cut dress at the front and retain the sleeves at the elbows.

Reputedly bt from Wilson's last home at Colomendy in Denbighshire after the artist's death (see label 1); Private collection, Cranbrook, Kent; Spink & Sons London; purchased for the National Museum of Wales by private subscription, 18 March 1936

Kate Lowry has noted: The double layer of white ground with intermediate size is a commercially prepared priming typical of the period. The soft modelling of the face, leaving the pale grey underpaint exposed around the eyes and lips, is characteristic of Wilson's simple but effective use of paint.

 

According to W.G. Constable:
[1] On the modern stretcher, parchment, in an eighteenth-century hand: The Maid of Honour | Lady in White Satin Dress | by Richard Wilson R.A. | Brought from his studio at Clomendy [sic] | where he died May 1782 - aged 69 | buried in Mold churchyard, near the | Clerk's house | Mr. M.H. Jones, Bryn-Hyfryd | Ruthin.
[2] On the frame in a nineteenth-century hand: The Maid of Honor | by | Richard Wilson R.A.| Bought at the sale of pictures belonging | to Mr Edward Jones | Hooton Grange.

 

 

 

This is relatively rare as an example of Wilson's female portraiture, and his mastery of the contrasting textures, fabrics and surfaces is impressive. Kate Lowry has noted that the composition is very similar to that of the three-quarter length portrait underlying P120A Llyn Peris and Dolbadarn Castle, National Museum of Wales.

WGC, pp. 129, 154-55, commentary under pl. 8c; repr. pl. 8b; C.H. Collins Baker, Apollo vol. 64, no. 382, Dec. 1956, pp. 201-202, repr.; Cardiff 1961, pp. 6-7

 

Relined. 18th century frame. Kate Lowry has noted: Original canvas, simple weave linen, c.18 threads per sq. cm. Original turnovers removed at time of lining. Some old tears in original canvas visible in X-ray. Lined onto a slightly finer simple weave linen with animal glue adhesive. Pine stretcher, not original, probably dating from lining. Double layer of white ground is visible in cross-section with intermediate size layer. A grey underpaint layer is visible at some edges and in parts of the face. Body and dress of sitter quite solidly painted with some impasto in highlights. The background and hair more thinly painted. The fingers of her right hand and the line of her left arm have been altered slightly during painting and these changes are visible in the X-ray. Mature cracks present throughout. Vection cracks indicate a four member original stretcher. No drying cracks. All tears filled and retouched. These retouches now discoloured. Those in the pale tones are blanched. Retouches in background have darkened. Extensive retouches over the base of the pilaster centre left and other minor retouches in green curtain at upper right.

15/04/2020