A young girl wearing a rust-red dress with a tight bodice and full, voluminous skirt sits in a hazy, garden-like setting in this vertical portrait painting. Her skin is pale with a greenish cast, but her cheeks are slightly flushed. Her body faces us but her head turns as she looks off to our left with dark eyes. She has faint brows, high cheekbones, a pointed chin, and her thin lips are parted. Her blond hair falls down the sides of her face, and she wears a brick-red bow across the top of her head. A second bow, the same color, is tied under her chin. Her dress is off the shoulders and cut low across her chest. The bodice, neckline, and half-length sleeves are lined with lace, and a sprig with forest-green leaves is tucked into the neckline. She holds a bouquet of red, pink, blue, and white flowers in her lap with both hands. The pointed tip of one gold shoe peeks out from under the hem of her skirt. The background around her is painted with blended tones of teal, aquamarine, and steel blue. A tree grows up along the right edge, and the dark canopy curves over her head, in the upper right corner. One rose lies in deep shadow near her feet.

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   Painted for the sitter's mother, Elizabeth, Duchess of Hamilton and Brandon [1734-1790]; by descent through her second husband, John, 5th Duke of Argyll [1723-1806], to George, 8th Duke of Argyll [1723-1806]; (sale, Christie, Manson & Woods, London, 17 March 1855, no. 91); bought by the King for Welbore Ellis, 2nd Earl of Normanton [1778-1868], Somerley, Hampshire; by descent to Sidney, 4th Earl of Normanton [1865-1933];[1] sold 22 March 1909 to (Thos. Agnew & Sons, London); sold the same day to (Arthur J. Sulley & Co., London);[2] purchased 1909 by Peter A.B. Widener, Lynnewood Hall, Elkins Park, Pennsylvania; inheritance from Estate of Peter A.B. Widener by gift through power of appointment of Joseph E. Widener; gift 1942 to NGA.

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   The canvas is plain woven; it has been lined, and was relined in 1944. The ground is thinly applied; its color is difficult to determine. The painting is executed thinly, with thicker paint in the flesh tones and impasto in the highlights of the dress and bouquet. The blue background was applied beneath the hair, and is revealed, through losses in this area, to have been intense in color; it is uncertain whether this was the intensity of blue intended by Reynolds for the sky, or whether it was to be toned or glazed to give the somber tone it has now. The paint surface seems to have been abraded. Some of the flesh tones may have faded. There is some retouching, but there are also scattered losses overall that have not been inpainted. The natural resin varnish has discolored yellow to a significant degree.

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