This 1782 portrait of Mary Robinson by Reynolds, in the style of Rubens' "Suzanne Fourment," is the portrait which Reynolds was working on at the time he was also doing the portrait of Ban. In fact, Banastre's first three appointments with the artist were on days when Mary was also there. Bass speculates that their first meeting was at the artist's studio, which may or may not be likely given that Banastre tended to make his appointments during the morning, while Mary preferred to come to the studio at two in the afternoon.1   This painting is at Waddesdon Manor (National Trust property, formerly the James A. de Rothschild collection). Reynolds also completed two "variation" paintings, which show Mary facing right rather than left, do not show her hands, and have other minor variations. Mannings lists one copy as "untraced", and shows an illustration of the other (fig. 1392), which is in a private collection.2

Notes:

¹ Bass, Robert D.; The Green Dragoon; The Lives of Banastre Tarleton and Mary Robinson; (New York: Henry Holt and Company; 1957), p9. The schedule of their sittings are recorded in Reynolds' methodical appointment books, many of which still exist. Mannings, David; Sir Joshua Reynolds; A Complete Catalogue of his Paintings; (Published for the Paul Mellon Centre for Studies in British Art by Yale University Press, New Haven and London, 2000) reprints the schedule for each sitter. [ back ]

² Mannings, p394. [ back ]