Name: GEORGE ROMNEY, R.A. (DALTON-IN-FURNESS, LANCASHIRE 1734-1802 KENDAL, CUMBRIA)
Brand: Portrait of a young lady, traditionally identified as Sarah, the Hon. Mrs Richard Tickell (1770-c.1817), half-length, in a white dress and plum sash
Price: 22000.00 GBP
Availability: SoldOut

GEORGE ROMNEY, R.A. (DALTON-IN-FURNESS, LANCASHIRE 1734-1802 KENDAL, CUMBRIA)
Portrait of a young lady, traditionally identified as Sarah, the Hon. Mrs Richard Tickell (1770-c.1817), half-length, in a white dress and plum sash
oil on canvas
29¹⁄₂ x 24¹⁄₂ in. (74.9 x 62.2 cm.)

Mrs E.L. Hill; Christie's, London, 8 May 1897, lot 60, 2 gns. to the following,
with Thos. Agnew and Sons, London.
with Galerie Sedelmeyer, Paris, by 1897.
Fairleigh Dickinson University, New Jersey, inv. no. 34.
Morris K. Jesup (1830-1908), and by inheritance to his wife,
Maria van Antwerp DeWitt (1834-1914), by whom bequeathed to,
The Metropolitan Museum of Art, New York; Christie's, New York, 14 January 1993, lot 71.
Private collection, Austria.
Anonymous sale; Dorotheum, Vienna, 21 March 2002, lot 293.
with Philip Mould, London, from whom acquired in June 2004 by the present owner.

H. Maxwell, George Romney, London, 2002, pp. 92 and 183, no. 241.
G. Paston, George Romney, London, 1903, p. 198.
H. Ward and W. Roberts, Romney, A Biographical and Critical Essay with a Catalogue Raisonne of his Works, London, 1904, II, pp. 157-158.
B. Burroughs, European Paintings in the Jesup Collection, Metropolitan Museum Bulletin, X, 1915, pp. 88-89.
K. Baetjer, European Paintings in the Metropolitan Museum of Art, New York, 1980, I, p. 158; II, p. 262, illustrated.
B. Maclean-Eltham, Romney Paintings in Public Collections, Kendall, 1996, p. 56.
J. Bryant, Kenwood, Paintings in the Iveagh Bequest, New Haven and London, 2003, pp. 396-397.
A. Kidson, George Romney, a complete catalogue of his paintings, New Haven and London, 2015, p. 756, no. 1678,

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This charming portrait, executed in broad brush stokes can be dated to the 1780s on stylistic grounds. It is clearly a society portrait and, given her white dress, it is likely that it was painted shortly before or at the time of the sitter's marriage. The pencil and sketch-book to her left give us a further hint as to her character. However, despite these indications, the sitter's identity remains unknown. She has previously been mis-named as both Mrs Chafin Grove and Mary Linley, first wife of the playwright Richard Tickell, but neither of these identities holds up to scrutiny.

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