"Pinkie after Lawrence" portrait

  I HAVE SAME PAINTING FROM MY GRANDMA WHO HAS PASSED AWAY MANY YEARS AGO, MY MOM AND MY AUNT GAVE IT TO ME WHEN SHE PASSED, CAUSE THEY SAID i WAS THE ONLY ONE WHO EVER EVEN NOTICED IT AND i ALWAYS LOVED IT.  bUT i DONT SEE ANY NUMBERS ON BACK OF THE PAINTING, JUST THE GOLD PLATE ON FRONT OF PAINTING READING AFTER LAWRENCE.  iF ANYONE HAS ANY INFO PLEASE LET ME KNOW i KNOW MY GRANDMA HAD THE PAINTING HANGING ON HER LIVING ROOM WALL SINCE THE 1960'S.  TY JOANNA

I have pinkie and blue boy.. by thomas lawrence and thomas gainsborough.

size is with frame 70x55 with out frame 62x46   the painting number on back is 17566.. they both are hung in california huntington museum

lawrence died in 1830 and gainsborough died in 1788  found on tag on back of paintings  said made in usa.  i have no idea how old these are , but frame and pictures are in excellent shape ,looks like painted with oil ,

 not 100 % sure  still trying to fine out for sure.

I got "Pinkie from Lawrence", for Christmas from  my daughter, I know that she belongs in a set with the portrait "Blue Boy, for a long time growing up with a smaller version of the paintings Blue boy and Pinkie, I thought they were brother and sister, Actually, Blue Boy and Pinkie are not related to each other by blood – either their own blood or Gainsborough’s. The Blue Boy is believed to be a portrait of Jonathan Buttall, the son of a prominent English hardware merchant. It is a historical costume study. Though he posed for the painting around 1770, Buttall is pictured wearing clothing in the style of the previous century. Pinkie was painted nearly a quarter of a century after Blue Boy, in 1794, by Thomas Lawrence, another British painter. Gainsborough had been dead for twelve years by the time Pinkie came into existence. It is a portrait of Sarah Barrett Moulton, who was approximately eleven years old and wearing contemporary clothing when she posed for it. Thus, her clothing style and Blue Boy’s are separated from each other by more than a century and a half. Sarah was the daughter of a wealthy Jamaican plantation owner named Charles Barrett Moulton. She was born and raised in Jamaica but, shortly before posing for her portrait, traveled to England to further her education.Tragedy befell the subjects of both paintings. Buttall inherited his portrait from his father, but was forced to surrender it when he filed for bankruptcy in 1796. Sarah Barrett Moulton’s fate was even sadder. She died, at approximately twelve years of age, in 1795, one year after Lawrence painted her. The cause of death is believed to have been whooping cough, possibly contracted from her brother Edward. Perhaps that is why Edward wound up acquiring her portrait for himself. Edward, who later changed his last name to Moulton-Barrett, eventually fathered one of the most famous poets in all of English literature, Elizabeth Barrett Browning. Thus, Sarah Barrett Moulton, known as “Pinkie” to her family, was Elizabeth Barrett Browning’s aunt. Alas, aunt and niece never knew each other. The poet was born roughly eleven years after the death of the famous portrait model.
It wasn’t consanguinity that linked Blue Boy and Pinkie for posterity. It was money. According to the Wikipedia, the two works had no association whatsoever until American railroad magnate Henry Edwards Huntington, acquired them both in 1921 and relocated them from England to the art gallery of his famous Huntington Library complex in Southern California. The British public was outraged by the sale of The Blue Boy, which was regarded as a national treasure. According to the Wikipedia 90,000 Britons came by to wish the painting a fond farewell when it was put on display in the National Gallery shortly before leaving Britain forever. Pinkie was not as well known nor as well loved as The Blue Boy at the time of its sale to Huntington, thus few tears were shed over her departure. It wasn’t until the two pictures were hanging together in the Huntington gallery that their obvious similarities caused them to become linked forever in the popular imagination. According to William Wilson, author of The Los Angeles Times Book of California Museums, Blue Boy and Pinkie are “the Romeo and Juliet of Rococo portraiture.” He further notes that “They have decorated cocktail coasters, appeared in advertisements, and stopped the show as the tableaux vivants at the Laguna Beach ‘Pageant of the Masters.’ For all that they remain intrinsically lovely…The subjects are certainly in the springtime of life, but their freshness is lent a certain poignancy by the rather grown-up garb that suggests both the transience of youth and the attempt to cling to it. Besides, both are extraordinarily fine pictures, easy and dramatic at once.”

The Turner examples were made as low cost Decorator Art from the 1950's through 70's.  They are mass produced prints of very limited value, at auction they often sell for less than $75.00.