In fully restored condition. Somewhat stiffly relined, cleaned and re-varnished. Covered in a layer of surface dirt. The paint is somewhat flattened in places as a result of the restoration process. A horizontal band of approx 15cm-30cm at the widest point along the lowest edge is in most notably thin in and poor condition. Cracquelure pronounced, canvas is apparent, more pronounced stretcher shadow etc. The paint is more noticeably thin and more consistent cracquelure especially within her skirts in general but the paler tone more aquetly. Likely reinstating of the inscription upper edge although no clear indication under a UV light. Four minor retouches above the lettering of "Wife to George" Further vertically arranged retouch withoin background approx 6-7cm to the right of the word "Halifax" and approx 2-3cm in length. Further retouches to the background upper right and upper left, likely of a different date in addition to general strengthening with the outline and definition of the drapery of the red curtain and elsewhere background left-hand side. Some of the restoration has deteriorated and is visible by eye. Essentially stable craquelure throughout with areas of a more pronounced nature. The varnished has deteriated and is showing as slightly opaque in places and more evident in line with some of the cracquelure. Further relatively small retouches in a similar area and likely of a different date. The largest is approx 2cm in dia. and a furthermore consistent patch within the darker tones and shadows central area of the drapery left-hand side background. There is a furthermore notable area of retouching and restoration within approx centre of the first stepped area below the fluted column which is essentially rectangular and approx 4cm by 6cm overall. Furthermore linear and mostly less consistent retouches and strengthening within the definition and demarked areas of the lower part of the column in general. Seemingly minor and delicate likely old retouches to the face with some possible more consistent retouching and restoration around the mouth and skin tones particularly around the string of pearls. The hair shows patches of general strengthening and retouching of two likely dates. A further patch of retouching at her approx shoulder in a broadly triangular shape. The definition drapery and folds of the fabric throughout her costume but especially her skirts and cloak and the shadows in general show consistent strengthening with some likely older and delicate retouches to the skin tones of the arms. The background of the lower 50% right and left side is broadly less affected. For more information please contact the department. The painting has historically been known as a portrait of Gertude Marchioness of Halifax. Another version of this composition and sitter was sold through Sotheby's Old Master and 19th-century paintings Lot 483 Sotheby's, New York 31st January 2014, Old Master and European Art Lot 483 and is now understood to form part of the collection at Tatton Park and is catalogued as Louise Renee De Penecoet De Kerouaille (1649-1724), Duchess of Portsmouth.

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