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Portrait of a Young Woman:
Catalogue entry

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Entry details

Full title
Portrait of a Young Woman
Artist
Paris Bordone
Inventory number
NG674
Author
Sir Nicholas Penny

Catalogue entry

, 2008

Extracted from:
Nicholas Penny, The Sixteenth Century Italian Paintings, Volume II: Venice 1540–1600 (London: National Gallery Company and Yale University Press, 2008).

© The National Gallery, London

Oil on canvas, 100.9 × 82.5 cm

Inscribed ÆTATIS SUÆ / ANN. XVIIII on the architecture above the woman’s right shoulder

Support

The measurements given above are those of the stretcher. The painted surface measures 96.5 × 78 cm but the remains of the original canvas measure approximately 94.5 × 76.5 cm (see the section on Conservation below). Tacking holes and cusping can be discerned at the lower edge. These do not survive at the other edges, where, however, clear evidence remains of the stitching whereby the canvas was formerly enlarged. The original canvas is of a medium‐fine tabby weave and is lined with wax resin on to a modern tabby‐weave canvas of a similar weave. The pine stretcher with crossbars dates from the nineteenth century but was cut down when the picture was altered in format. It is stamped ‘G. Morrill’.

Materials and Technique

It is not certain whether the canvas was prepared with gesso, but none was found in the only paint sample which has been taken from the picture.1 The priming is pinkish beige in colour and consists of lead white with red earth and a little black pigment. Under infrared light, patches of black appear in the deepest shadows of the crimson dress, and hatched black lines in the shadow to the left of the bodice. Three separate layers of red lake and lead white were found in the mid‐tone of the dress.2 The delicate grey hatching of the flesh – most obvious in the eyebrows and below the chin – is characteristic of Bordone, as is the way that the irises with their very large pupils are crossed by a short, slightly curved line of white impasto.

Fig. 1

Detail of the sitter’s left eye. © The National Gallery, London.

There is only one pentimento of any significance: a series of white marks passing diagonally over the woman’s right breast. These perhaps indicate the original position of the pearl necklace.

Conservation

When the painting was acquired in September 1861 Eastlake was aware that it had been enlarged, a practice which he had observed to be common with old masters in Genoese collections.3 He was at first undecided as to whether or not the extensions should be removed, but we know from Wornum’s diary that the painting was consigned to ‘Mr Morrill to be lined’ and ‘the added portions to be partly cut away again’. This operation was complete on 11 December 1861 and between 16 and 19 December the painting was cleaned by Pinti.4 It was relined, cleaned and restored between June and September 1980, and the remaining additions were removed at that time. A border was left around the original canvas.

Condition

The painting is in very good condition. There are a few small paint losses in the higher of the two distant arches on the left and also in the skin to either side of the nose. It seems likely that the fine veining of the columns in the foreground was originally more evident. The yellow paint of the ornamental chain around the woman’s waist has darkened, since it almost certainly represents gold. It has probably become more translucent and hence more affected by the crimson of the dress underneath. The cross, probably painted with the same pigments, is lighter, except for the finial on the left, which was painted over the dress. Very slight abrasion to the shawl where it falls over the dress is likely. The shadows of the pearls and the little blue ribbons on the bodice of the dress appear to be perfectly preserved.

Dating and Attribution

The painting seems always to have been recognised as by Bordone. The facial type and expression, the colour of the flesh, the hatched brushstrokes in the shadows, also the curious anatomy of the left hand, are all typical of him. The style of the dress, especially the puffs at the top of the sleeves, suggests a date in the mid‐ to late 1540s. A close parallel is found in Lotto’s Portrait of Giovanni della Volta with his Wife and Children (NG 1047) which was completed in 1547.5

Setting, Dress, Accessories and Format

The woman stands in an architectural setting of indeterminate, and surely fantastic, character. There is a basamento at approximately shoulder height on the right, and above it there are engaged columns on pedestals and a wood‐framed glass window (with panes of bottle glass) aligned with the plinths of the columns. These plinths are unusually low, and also unusual is the fact that they are narrower than the base mouldings of the columns. It is not clear whether there are one or two columns to the left of the window.

In the left‐hand corner of the painting there is an opening with two improbably precarious flights of steps rising [page 47][page 48]at right angles to each other. The stairs lead to what might be taken for an arcaded loggia, two Ionic columns of which are visible, but is more probably meant for a central triple‐arched opening, of which we see one half. In any case the higher and wider arch defines the entrance to which these steps lead. A man stands in the entrance. The substructure of the building and the stairs are supported by two arches. As Gould noted, this depends on a staircase which is among the designs published by Serlio in his book of Architecture.6 It is, however, not as precisely drawn as the Serlian architecture in those of Bordone’s paintings in which architecture plays a larger part. In nineteenth‐century catalogues the structure was considered to be a ‘portion of the hospital at Genoa’ and the sitter was said to be a member of the Genoese Brignole family.7

Fig. 2

NG 674 before the 1980 restoration. © The National Gallery, London.

Fig. 3

Paris Bordone, Portrait of a Woman with a Squirrel, c. 1545. Oil on canvas, 102 × 81 cm. Augsburg, Städtische Kunstsammlungen. © Städtische Kunstsammlungen, Augsburg, Karl und Magdalene Haberstock‐Stiftung.

The woman wears a necklace of pearls from which a gold cross is suspended. Four pearls identical in size to those strung on the necklace are attached to the cross, and a pear‐shaped pearl is pendant from it. There is a blue stone or enamel ornament in the centre of the cross. Around the woman’s waist there is an ornamental chain with hollow, perforated, multifaceted ornaments, each separated by three links of the chain. This chain extends to the woman’s left hand, which may conceal an object such as a miniature book, a scent bottle, a pomander or a locket.

The sleeves are detachable from the dress, as was usual in this period, and, although they are made from the same crimson silk with crumpled folds, they are embroidered with meandering textured bands. The fine translucent shawl worn around the woman’s shoulders appears to have originally covered her breast and to have been opened hastily and tucked negligently into the dress. Such ‘sweet disorder’ is not usually found in sixteenth‐century female portraiture in which the dress is accurately rendered, but there is another example among Bordone’s portraits, and Lotto’s Portrait of a Woman inspired by Lucretia (NG 4256) provides an earlier example. It is somewhat enticing, and one wonders whether it was regarded as provocative and ‘loose’, like a stray lock or dangling strap in other periods. This, together with the darting glance (active eye movements were deemed inappropriate for a demure maiden) and the boldness of the hand on hip, counteracts the chaste associations of the cross. All of these features except for the hand on the hip are also found in Bordone’s portrait known as the ‘Donna con lo sciattolo’ in the Städtische Kunstsammlungen, Augsburg (fig. 3).8

The woman’s coiffure is as tidy as it is elaborate, with regularly rippling locks on either side of the central parting, and a long tail of hair wound around the top of the head is bound by knotted plaits that rhyme with two strings of pearls which are also involved.

The format of a three‐quarter‐length figure framed by architecture and including a column base at head height is found in what is probably Bordone’s earliest surviving portrait, the painting of a young man once in the Baring [page 49]collection, which seems to be dated 1521 (the last digit is not clear).9 The pose of one hand on hip, together with the highly elaborate coiffure, is found in a painting by Bordone that probably dates from the 1530s and is in any case of earlier date than NG 674, the so‐called Violante in the Alte Pinakothek, Munich,10 which is now generally regarded as the portrait of a courtesan or of an ideal beauty for which a courtesan perhaps modelled. However, the same pose and a very similar architectural setting to that seen in NG 674 are also given by Bordone to a woman of the Fugger family.11 By contrast, the features of the young woman in NG 674 clearly conform to the artist’s female ideal as also found in his mythological paintings. But this need not mean that NG 674 is not a portrait, since portrait painters have often ignored the idiosyncratic particularities of young beauties, and besides it would be very odd for a painting of an anonymous beauty to be inscribed with the information that she is aged nineteen.

Whether the sitter in NG 674 takes liberties which were permissible in a portrait of a young lady painted for her betrothed or is, rather, a mistress painted for her lover is a question which cannot easily be settled, but Bordone depicted many other female sitters with much more provocative states of undress (the original of NG 2097 was probably a case in point).12 On the spectrum of Bordone’s female portraiture, which extends from decorous matron to lascivious courtesan, NG 674 seems to occupy a mid‐point.

Possible Companion Painting

Bailo and Biscaro in their monograph of 1900 proposed that this painting, traditionally identified as a ‘Portrait of a Lady of the Brignole family’, may be the portrait of a ‘most lascivious woman’ (‘donna lascivissima’) sent by Bordone to the Genoese Ottaviano Grimaldi from Venice, together with his portrait of Grimaldi himself.13 The idea was presumably suggested by the fact that NG 674 was once in a Genoese collection. Canova in her monograph of 1964 took up the idea and suggested that the portrait of Grimaldi might be a painting now in the Genoese public gallery in Palazzo Rosso, which is of the ‘same size and format’ and also includes an architectural view.14 The sizes are similar,15 but not the canvas type. Grimaldi was said to have visited Venice in 1524, whereas the male portrait in question is now dated to more than thirty years later.16 NG 674 was certainly not painted at the same date.

Cecil Gould suggested that a male portrait in the Uffizi might have been painted as the companion of NG 674.17 This painting is likely to be of a later date, moreover the figure is different in scale and he looks up to the left. Whether placed beside or opposite the woman in NG 674, he would not meet her eyes. The use of the same background motif does not suggest that it was a companion painting.

One aspect of NG 674 which does, however, suggest that it was made for a specific location and hence perhaps as part of a scheme which may have involved another painting is the fact that the light – very unusually in Bordone’s œuvre – falls from the right.

Circumstances of Acquisition

The acquisition of NG 674 is described by the Gallery’s director, Sir Charles Eastlake, in a letter of 20 September 1861 sent from Naples to the Gallery’s keeper, Ralph Nicholson Wornum: I have purchased here a portrait of a lady by Paris Bordone – about half length, but enlarged. It came originally from Genoa, where it was the fashion to increase the size of pictures. It will be a question when it reaches England how far to cut it down. I think the original boundary, at least above, would be too close to the head.I have had great trouble in getting the picture from the proprietor, the Duca di Cardinale (his late title was Duca di Terranuova). He was the owner of the ‘Terranuova Raphael’ sold a few years since for a large sum to Berlin. At first the Duke would only consent to sell six pictures together, including the P. Bordone for about £1040. I could not agree to this, not caring for the other 5 pictures. I offered £400, including agency & presents to the secretary & household – without fixing the price of the picture. The stimulus of gain to the subordinates was so powerful that the duke was induced to give the picture for 1500 ducats – £257-13‐1 – the ‘agency’ being £146. I have of course the proper receipts.The picture is safe at Messrs Igguldens, the correspondents of Messrs McCracken. There will be some exportation forms but I hope no difficulty. Please to direct Messrs McCracken to insure, for due time, per £500 to cover expenses.18 Eastlake himself was not likely to have been directly involved in this affair. It must have been managed by his Neapolitan agent, whose services he praised in the same letter: ‘The agent I have secured here will obtain access for me to the best collections – & he is most fearless in asking Dukes & Princes to sell.’ The Gallery’s accounts reveal payments made on 18 December 1861 to Messrs McCracken for the cases containing the Bordone and its frame (£13 11s. 9d.) as well as their commission (£2 5s.), and earlier, on 17 October, payments corresponding to those mentioned in Eastlake’s letter (£257 13s. 1d. and £146) which were made to a ‘Sigr. Carelli’,19 who must therefore have been Eastlake’s audacious and ingenious agent. He is presumably to be identified with either Gonsalvo (Consalvo) Carelli (1818–1900), a Neapolitan painter of landscapes and genre scenes, or his brother, the watercolourist Gabriele Carelli (1820–1900). Both artists had English connections and moreover may have known Eastlake when he had resided in Rome.

Wornum’s diary reveals that the painting arrived in the Gallery on 16 November 1861. It was hung on 27 December after relining and cleaning and glazed on 4 January 1862 (when its varnish was judged to be completely dry).20

Provenance

Duca di Cardinale (formerly Duca di Terranova, Naples) by 1861 and previously, according to him, in Genoa, perhaps in [page 50][page 51]the possession of a branch of the Brignole family, since the sitter was said by him to have been a member of that family. Purchased from the duke by the National Gallery in 1861. The Duca di Cardinale would have been one of the two sons of Prince Giuseppe Pignatelli Aragona Cortes, Duca di Terranova and Marques de la Valle de Oaxaca (1795–1859). The titles of this family, which had property in Sicily, Spain and Mexico, are notoriously complex – the present head of the family has eighteen titles. Diego, the eldest son of Prince Giuseppe, owned the splendid neo‐classical Villa Acton in Naples (now Villa Pignatelli).

Fig. 4

Detail of NG 674. © The National Gallery, London.

Copies

A portrait of oval format, or at least framed as an oval, which was evidently based on NG 674, was sold at Christie’s, London, on 27 February 1976, lot 92. The most notable difference was that the woman was not wearing a pearl necklace but had flowers pinned to her breast; it may have been made in the eighteenth century.

The painting was transported to London together with its Italian frame, which it is likely to have retained until it was reframed at some time between June 1962 and December 1964.21 Neither of these two frames can now be traced. The painting is currently displayed in a frame made in July and August 1981. It has radial stopped flutes on the principal moulding, which is separated by hollows from the sight edge and from the bead and fillet of the back moulding. To us the execution looks mechanical, the design rather mean and the colour somewhat repellent. The gilding has been rubbed to reveal the red bole beneath and then muffled with a layer of smoky grey.

Notes

1. Report of examination conducted by Marika Spring of the National Gallery’s Scientific Department in April 1998. (Back to text.)

3. See Eastlake’s letter quoted in the section on Circumstances of Acquisition. (Back to text.)

4. NG 32/67. (Back to text.)

5. Typescript notes by Stella Mary Pearce (Newton) dated 19 October 1954 in the National Gallery’s dossier suggest a later date than Davanzo Poli 1987, p. 250. For the Lotto see Penny 2004, pp. 92–102. (Back to text.)

6. Gould 1962, p. 61. (Back to text.)

7. Wornum 1862, p. 40; [Burton] 1890, pp. 49–50. (Back to text.)

8. [Mariani] Canova 1964, fig. 144. The flashing eye is also a feature of the portrait formerly in the Radnor collection, for which see Fossaluzza 1987. (Back to text.)

9. Exhibited at the Royal Academy (1871, no. 84) as by Titian, to whom it had been previously attributed both in England and in Spain (where it had belonged to Manuel Godoy). It was catalogued by Richter (1889, p. 163, no. 218) as by Titian or Bordone, and later it was supposed to be by Calcar. See Sotheby’s, New York, 28 January 2000, lot 15, where it is correctly attributed to Bordone. The portrait of a man in the Louvre (inv. 758), generally attributed to Tintoretto but also sometimes to Calcar, must be by the same hand. Palma Vecchio introduced the motif of high column‐bases into Venetian portraiture with his late unfinished pictures in the Querini Stampalia collection. (Back to text.)

10. [Mariani] Canova 1964, p. 84, fig. 86. (Back to text.)

11. Ibid. , p. 64, and Mariani Canova 1984, p. 82, no. 19. (Back to text.)

12. [Mariani] Canova 1964, p. 85, fig. 89 (Louvre), and p. 116, figs 90 and 91 (Vienna). See also the portrait of a young lady in the Thyssen Bornemisza Museum, Madrid (no. 55), where both breasts are exposed by the loosening of her bodice. (Back to text.)

13. Bailo and Biscaro 1900, pp. 128–9. (Back to text.)

14. [Mariani] Canova 1964, pp. 48–9 and 81; the male portrait in Palazzo Rosso is ibid. , fig. 88. My notes indicate that it is painted on canvas of a very fine tabby weave. (Back to text.)

15. The male portrait measures 110 × 83 cm. This is not identical in size to NG 674 today but it is hard to estimate the original size of NG 674 given that three of the four edges have been cut. (Back to text.)

17. Gould 1959, pp. 22–3; 1975, pp. 36–8. [Mariani] Canova 1964, p. 99 and pl. 99. It measures 115 × 90.5 cm. (Back to text.)

18. Letter in the dossier for NG 674. (Back to text.)

19. NG 13/1/3 (by date). (Back to text.)

21. Annual Report for June 1962–December 1964, p. 139. (Back to text.)

List of archive references cited

List of references cited

Avery‐Quash 2011b
Avery‐QuashSusanna, ed., ‘The Travel Notebooks of Sir Charles Lock Eastlake’, The Walpole Society2 vols, centenary edition, 2011, 73
Bailo and Biscaro 1900
BailoLuigi and Gerolamo BiscaroDella Vita e delle opere di Paris BordonTreviso 1900
Burton 1887–1913
[BurtonFrederic Williamet al.], Descriptive and Historical Catalogue of the Pictures in the National Gallery: Foreign Schools (Burton’s version of the catalogue appeared in 1889 – the 74th edition – with a preface dated December 1888, which he signed. His name appears on no other edition. Some of Wornum’s notices were retained but all biographies and most entries were Burton’s. After his retirement, additions were made by others. Many entries were significantly modified in the 81st edition of 1913 and thereafter replaced by Collins Baker), London 1887, 1888, 1889, 1890, 1892, 1894, 1898, 1901, 1906, 1913
Davanzo Poli 1987
Davanzo PoliDoretta, ‘Abbigliamento Veneto attraverso un’iconografia datata 1517–1571’, in Paris Bordon e il suo tempo, eds Giorgio Fossaluzza and Eugenio Manzato (Acts of the Convegno Internazionale di Studi, Treviso, 28–30 October 1985), Treviso 1987, 243–54
Fossaluzza 1987
FossaluzzaGiorgio, ‘Qualche recupero al catalogo ritrattistico del Bordon’, in Paris Bordon e il suo tempo, eds Giorgio Fossaluzza and Eugenio Manzato (Acts of the Convegno Internazionale di Studi, Treviso, 28–30 October 1985), Treviso 1987, 183–202
Gould 1959
GouldCecilNational Gallery Catalogues: The Sixteenth‐Century Venetian SchoolLondon 1959
Gould 1962
GouldCecil, ‘Sebastiano Serlio and Venetian Painting’, Journal of the Warburg and Courtauld Institutes, 1962, XXV56–64
Gould 1975
GouldCecilNational Gallery Catalogues: The Sixteenth‐Century Italian SchoolsLondon 1975 (repr., 1987)
Joannides and Dunkerton 2007
JoannidesPaul and Jill Dunkerton, ‘“A Boy with a Bird” in the National Gallery: Two Responses to a Titian Question’, National Gallery Technical Bulletin, 2007, 2836–57
Mariani Canova 1964
Mariani CanovaGiordanaParis BordonVenice 1964
Mariani Canova 1987
Mariani CanovaGiordana, ‘Paris Bordon: problematiche cronologiche’, in Paris Bordon e il suo tempo, eds Giorgio Fossaluzza and Eugenio Manzato (Acts of the Convegno Internazionale di Studi, Treviso, 28–30 October 1985), Treviso 1987, 137–57
Penny 1998
PennyNicholas, ‘Un’introduzione ai taccuini di Sir Charles Eastlake’, in Giovanni Battista Cavalcaselle: Conoscitore e conservatore, ed. Anna Chiara Tommasi (papers from the Convegno held in 1997 at Legnago, Verona), Venice 1998, 277–89
Penny 2004
PennyNicholasNational Gallery Catalogues: The Sixteenth‐Century Italian Paintings, Volume I, Paintings from Bergamo, Brescia and CremonaLondon 2004
Simon 2007
SimonJacobBritish Picture Framemakers 1600–1950 (National Portrait Gallery online dictionary), https://www.npg.org.uk/collections/research/programmes/conservation/directory-of-british-framemakers/, accessed 21 May 2024, 1st edn, 2007
Weale and Richter 1889
WealeW.H. James and Jean Paul RichterA Descriptive Catalogue of the Collection of Pictures belonging to the Earl of Northbrook (‘the Dutch, Flemish, and French schools by Mr W.H. James Weale; the Italian and Spanish schools by Dr Jean Paul Richter’), London 1889
Wornum 1847–62
WornumR. N.Descriptive and Historical Catalogue of the pictures in the National Gallery with biographical notices of the painters (the 1847 volume was the first of a new style of catalogue made under Eastlake’s guidance and including much material by him; unlike the earlier summary guides it was arranged alphabetically and the inclusion of lives of the artists meant that it also served as a biographical dictionary), London 1847, 1854, 1857, 1859, 1862

List of exhibitions cited

London 1871, Royal Academy
London, Royal Academy, Exhibition of the Works of the Old Masters, 1871

The Organisation of the Catalogue

Artists are listed alphabetically and separate works by the same artists are ordered chronologically (rather than by date of accession). The division of an artist’s work between catalogues has been avoided in the past, but Titian presents a special problem. His work from before 1540 has been left for another volume and his later productions are presented here together with works by rivals, followers, pupils and imitators.

I have included one painting which seems to be a pastiche made soon after Titian’s death (A Concert, NG 3) and another which is a copy of one of his compositions, probably made later than 1600 (The Trinity, NG 4222), but not A Boy with a Bird (NG 933), which has often been taken for a seventeenth‐century imitation of Titian. The light cloud of drapery around the upper arm and the outlining of the fingers recall Titian’s Noli me tangere (NG 270) of c. 1515. It may be an excerpt from a painting of Venus and Adonis, a composition discussed in this catalogue (pp. 274–91), but if so must, as Paul Joannides has proposed, be an early version. Arguments in favour of the autograph status of this curious morsel are presented by Joannides and Jill Dunkerton in volume 28 of the National Gallery Technical Bulletin.

A good case could easily be made for including works by Rottenhammer, Elsheimer and El Greco, all of whom painted in Venice and were formed, or at least reformed, as artists by that experience. But readers will expect to find their work in other catalogues and it is unlikely that my colleagues would have consented to their appropriation. It may therefore seem inconsistent to have included The Conversion of Mary Magdalene (NG 1241) which is probably by Pedro Campaña, who was Netherlandish by birth and worked for many years in Spain. He was probably only briefly resident in Venice, but this painting was commissioned by a Venetian patrician both as a record of his family and as a record of a fresco in a Venetian church, so it seemed wrong to omit it.

As in the first volume of the sixteenth‐century Italian paintings, the entries, which are more discursive than was formerly the case in the Gallery’s catalogues, have been divided into sections with titles intended to help readers select the topic that interests them. Much material concerning previous owners is supplied and much on the circumstances of the work’s acquisition, but a succinct, factual summary of provenance is also supplied separately for ease of consultation.

The information on picture frames provided in the first volume attracted more comment in print than any other feature of that book. Here I have also drawn attention both to old frames of distinction and to frames made for the National Gallery. The reader should note that Jacob Simon at the National Portrait Gallery has created an online directory of framemakers which includes all the craftsmen mentioned here as employed by, or as suppliers to, the National Gallery.

An account of the conservators employed by the Gallery to varnish, line, clean, repair and retouch before the establishment of the Gallery’s own Conservation Department is incorporated in the introduction to the first volume (Penny 2004, pp. xiv–xv). A great deal of information about the conservation of the National Gallery’s paintings is provided and I have tried to relate the conservation history to the provenance, identifying not only nineteenth‐century restorers but also, sometimes, those from earlier centuries.

A question‐mark is used to indicate a doubt as to the authorship of a painting in preference to the formula of ‘Attributed to’ or ‘Ascribed to’. Comprehensive listing of references made in recent art‐historical literature has not been attempted. References in the notes are abbreviations of entries in the bibliography. I have tried to identify the actual authors of exhibition catalogues and of anonymous guides.

A Note on Manuscript Material Cited

References are made in the notes to manuscript material (chiefly letters) studied in British family papers – for example, those of the Earls of Carlisle and of the Dukes of Hamilton – and also to material studied in public and church archives in Venice – for example, confraternity manuscripts in the care of the parish of S. Trovaso, the parish records kept in S. Silvestro, and wills, inventories and financial records in the Archivio di Stato di Venezia (here abbreviated to ASV). Most frequent reference, however, is made to the Archive of the National Gallery itself: the minutes of the meetings of the Board of Trustees, with the associated papers, the Gallery accounts, the diary and other papers of Ralph Nicholson Wornum, and above all the notebooks or travel diaries kept by Sir Charles Eastlake on his continental tours between 1852 and 1864 (there is also one for 1830). Since there is more than one notebook for each annual tour, the number of the notebook cited is given in parentheses – thus ‘MS notebook 1864 (2)’ for the second in 1864. I have published an account of Eastlake’s methods and motives for compiling these notebooks in ‘Un’introduzione ai taccuini di Sir Charles Eastlake’ in Anna Chiara Tommasi, ed., Giovanni Battista Cavalcaselle: Conoscitore e conservatore (papers from the Convegno held in 1997 at Legnago, Verona), Venice 1998, pp. 277–89. They are currently being transcribed and edited by Susanna Avery‐Quash for publication by the Walpole Society.

About this version

Version 1, generated from files NP_2008__16.xml dated 06/03/2025 and database__16.xml dated 09/03/2025 using stylesheet 16_teiToHtml_externalDb.xsl dated 03/01/2025. Structural mark-up applied to skeleton document in full; entry for NG294 reintegrated into main document; entries for NG16, NG26, NG224, NG277, NG674, NG1318 & NG1324-NG1326, NG1883-NG1884, NG3948, NG4452, NG6376, NG6420 and NG6490 prepared for publication; entries for NG16, NG26, NG224, NG277, NG294, NG674, NG1318 & NG1324-NG1326, NG1883-NG1884, NG3948, NG4452, NG6376, NG6420 and NG6490 proofread and corrected.

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Penny, Nicholas. “NG 674, Portrait of a Young Woman”. 2008, online version 1, March 9, 2025. https://data.ng.ac.uk/0EBD-000B-0000-0000.
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Penny, Nicholas (2008) NG 674, Portrait of a Young Woman. Online version 1, London: National Gallery, 2025. Available at: https://data.ng.ac.uk/0EBD-000B-0000-0000 (Accessed: 19 March 2025).
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Penny, Nicholas, NG 674, Portrait of a Young Woman (National Gallery, 2008; online version 1, 2025) <https://data.ng.ac.uk/0EBD-000B-0000-0000> [accessed: 19 March 2025]