Isabella Wolff

• Frances Ann Kemble, Records of a Girlhood (New York, 1879), pp. 210-11.
• Lord Ronald Sutherland, Sir Thomas Lawrence (London, 1900), p. 168.
• George Somes Layard, ed., Sir Thomas Lawrence’s Letter-Bag With Recollections of the Artist by Miss Elizabeth Croft (New York, 1906), pp. 243, 247, ill. opp. p. 147.
• Freeman Marius O’Donoghue, Catalogue of Engraved British Portraits Preserved in the Department of Prints and Drawings in the British Museum vol. 4 (London, 1914), p. 527.
• Sir Walter Armstrong, Lawrence (London, 1919), pp. 65, 172, pl. 37.
• The Art Institute of Chicago, The Art Institute of Chicago Handbook of Sculpture, Architecture, Paintings and Drawings: Part II: Paintings and Drawings (Chicago, 1920), no. 758.
• The Art Institute of Chicago, “Notes: the Kimball Collection,” Bulletin of The Art Institute of Chicago 14, 5 (1920), p. 73 (ill.).
• The Art Institute of Chicago, The Art Institute of Chicago Handbook of Sculpture, Architecture, Paintings and Drawings: Part II: Paintings and Drawings (Chicago, 1922), no. 758.
• The Art Institute of Chicago Forty-Fourth Annual Report (Chicago, 1922), p. 51 (ill.).
• Marguerite B. Williams, “Valuable Collection of Paintings Added to Chicago’s Art Treasures,” America Today-Fort Dearborn Magazine (Mid-Winter 1924), p. 11 (ill.).
• The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago 1925), p. 34 (ill.).
• The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago 1932), p. 88 (ill.).
• Charles Henry Collins Baker, British Painting (London, 1933), p. 281.
• The Art Institute of Chicago, A Brief Illustrated Guide to the Collections (Chicago, 1935), p. 26.
• The Art Institute of Chicago, A Brief Illustrated Guide to the Collections (Chicago, 1941), p. 32.
• The Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago (Chicago, 1945), p. 34.
• The Art Institute of Chicago, A Brief Illustrated Guide to the Collections (Chicago, 1948), p. 31.
• Douglas Goldring, Regency Portrait Painter: The Life of Sir Thomas Lawrence, P.R.A. (London, 1951), pp. 205, 235, 23, pl. 176.
• Kenneth Garlick, Sir Thomas Lawrence (London, 1954), p. 63, pl. 77.
• The Art Institute of Chicago, A Brief Guide to the Collections (Chicago, 1956), p. 32.
• David Pipper, “Between Georgian Decorum and Melodrama,” Art News 59, 3 (1960), p. 64, fig. 3.
• Malcolm Vaughan, “The Connoisseur in America,” The Connoisseur 146, 588 (1960), pp. 146, 147 (ill.).
• The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 256.
• Sir Thomas Lawrence, PRA: 1769-1830 exh. cat. (London, Royal Academy of Arts, 1961), p. 33, under cat. 70.
• Kenneth Garlick, ed., A Catalogue of the Paintings, Drawings and Pastels of Sir Thomas Lawrence (Glasgow, 1964), p. 202.
• Frederick A. Sweet, “Great Chicago Collectors,” Apollo 84 (1966), fig. 12.
• David and Francina Irwin, Scottish Painters at Home and Abroad 1700-1900 (London, 1975), p. 162.
• John Maxon, The Art Institute of Chicago, rev. ed. (London, 1977), pp. 67–68, 283, (ill.) 68.
• John D. Morse, Paintings in North America: Over 3000 Masterpieces by 50 Great Artists (New York, 1979), p. 192.
• Kenneth Garlick, “Round the Galleries: The Glamour of Lawrence,” Apollo n. s. 61, 215 (1980), p. 67 (ill.).
• Oliver Millar, “Sir Thomas Lawrence at the National Portrait Gallery,” The Burlington Magazine 72 (1980), p. 76.
• The Art Institute of Chicago, The Art Institute of Chicago 100 Masterpieces (Chicago, 1983), p. 20.
• James N. Wood and Katherine C. Lee, Master Paintings in The Art Institute of Chicago (Chicago, 1988), p. 47 (ill.).
• Kenneth Garlick, Sir Thomas Lawrence: A Complete Catalogue of the Oil Painting (Oxford, 1989), no. 838, fig. 73.
• John Wilson, “The Romantics, 1790-1830” in The British Portrait 1660-1960, intro. by Sir Roy Strong (Woodbridge, 1991), p. 290, pl. 279.
• Duncan Thomson, “Sir Henry Raeburn: An Introduction to his Art and Life” in Raeburn: The Art of Sir Henry Raeburn 1756-1823, exh. cat. (Edinburgh, Scottish National Portrait Gallery, 1997), p. 27, fig. 27.
• A. Cassandra Albinson, “The Construction of Desire: Lawrence’s Portraits of Women,” Thomas Lawrence: Regency, Power, & Brilliance, exh. cat. (London, National Portrait Gallery, 2010), p. xvii, p. 39-43, p. 164-166, p. 212-215, fig. 28, cat. 22, cat. 35

• London, Royal Academy, The Exhibition of the Royal Academy, 1815, cat. 28.
• Cambridge, Mass., Harvard University, Fogg Art Museum, Exhibition of Eighteenth Century English, May 5–19, 1930, cat. 47.
• The Art Institute of Chicago, Century of Progress Exhibition of Paintings and Sculpture, June 1–November 1, 1933, cat. 198 (ill.).
• The Art Institute of Chicago, Century of Progress Exhibition of Paintings and Sculpture, June 1–November 1, 1934, cat. 144.
• Columbus, Ohio, Gallery of Fine Arts, Sir Thomas Lawrence as Painter and Collector, October 7–November 13, 1955, cat. 34 (ill.).
• Worcester, Mass., Art Museum, Sir Thomas Lawrence, Regency Painter: A Loan Exhibition of His Portraits, April 27–June, 1960, cat. 11 (ill.).
• London, Royal Academy of Arts, Royal Academy of Arts Bicentenary Exhibition, 1768–1968, December 14, 1968–March 2, 1969, cat. 181 (ill.).
• The Art Institute of Chicago, European Portraits 1600–1900 in The Art Institute of Chicago, July 8–September 11, 1978, cat. 13 (ill.).
• London, National Portrait Gallery, Sir Thomas Lawrence 1769-1830, November 9-March 16, 1980, cat 29 (ill.).
• New Haven, Yale Center for British Art, Sir Thomas Lawrence: Portraits of an Age, 1790-1830, February 27-April 25, 1993, cat. 40; Forth Worth, TX, Kimbell Art Museum, May 15-July 11, 1993; Richmond, Virginia Museum of Fine Arts, July 31-September 26, 1993.
• National Portrait Gallery, London, Thomas Lawrence: Regency, Power, & Brilliance, October 21, 2010- January 23, 2011; Yale Center for British Art, New Haven, February 24- June 5, 2011. cat. 35.

Commissioned by the sitter’s sister, Mrs. Walter (Clarissa) Hill, The Rocklands, near Goodrich, Herefordshire, 1802 or 1803 [see New York 1879]; possibly given to her by the artist, 1815 [information based on a label once on the back of the frame: “Portrait of Mrs. Wolff painted by Sir Thomas Lawrence and respectfully presented to her sister Mrs. Hill 1815 T L;” the label was transcribed by Walter Guy Hill, owner of the portrait, in a manuscript account of the history of the work, dated February 29, 1904, copy in curatorial file]; by descent to her son, the Rev. Walter Henry Hill (died 1867); on loan to his sister, Mrs. Robert (Isabella) Coke (died 1870), South Lodge, Newland, Gloucestershire, 1846-70; by descent to the Rev. Hill’s son, Walter Guy Hill (died 1906), Monmouth [see manuscript citied above and Major Peter Hill’s letter, dated January 27, 1982, copy in curatorial file]; probably sold between 1904 and 1906 [the painting was not mentioned in Walter Guy Hill’s will]. Mrs. W. W. Kimball (died 1921), Chicago by 1920; on loan to the Art Institute in 1920-21; bequeathed to the Art Institute, 1922.