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Sir Henry Raeburn
19th Century by Sir Henry Raeburn Portrait of a landowner Oil on canvas
Early 19th century, 1803

Name: 19th Century by Sir Henry Raeburn Portrait of a landowner Oil on canvas
Brand: Sir Henry Raeburn
Price: 69599.06 AUD
Availability: InStock
Rating: 5 (1 reviews)

About the Item

Sir Henry Raeburn (Stockbridge, Edinburgh, UK, 1756 - Edinburgh, UK, 1823) Title: Portrait of a landowner Year: Early 19th century, 1803 Medium: Oil on canvas Dimensions: Without frame 135.5 x 112 cm – with frame 162 x 130.7 cm Expertise by Benedetta Scaglioni, art historian Fairs: The International Biennial of Antiques in Florence 2024 (BIAF, Biennale Internazionale dell’Antiquariato di Firenze) Henry Raeburn was born in 1756 at Stockbridge a former village now within the city of Edinburgh, UK. He was a Scottish portrait painter who even served as such to King George IV in Scotland. He started as an apprentice to the goldsmith James Gilliland of Edinburgh, but he eventually took to the production of carefully finished portrait miniatures. Later he stated with oil painting, which he was self-taught. He spent two years studying in Rome and once he returned to Edinburgh, he began a successful career as a portrait painter. The portrait presented is unpublished and the subject has not yet been identified. Despite this, the social status of the man depicted is evident from the clothes he wears; the black double-breasted tailcoat with brass buttons, the top hat and walking stick. In the background we can admire a rural landscape where a flock of sheep can be distinguished. The painting has two light sources; natural light coming from the setting sun in the background, and artificial light from above and from the left.

Creator:
Sir Henry Raeburn (1756 - 1823, British)
Creation Year:
Early 19th century, 1803
Dimensions:
Height: 63.78 in (162 cm)Width: 51.46 in (130.7 cm)Depth: 1.58 in (4 cm)
More Editions & Sizes:
Without frame 135.5 x 112 cm – with frame 162 x 130.7 cmPrice: $44,944
Medium:
Canvas,Oil
Movement & Style:
Old Masters
Period:
Early 19th Century
Condition:
Gallery Location:
Milano, IT
Reference Number:
1stDibs: LU1701215465632

Shop All Sir Henry Raeburn

Sir Henry Raeburn

Sir Henry Raeburn, FRSE, RA, RSA (1756–1823) was a prominent Scottish portrait painter who is now largely credited for the revival of Scottish art in the early 19th century. Born in Stockbridge, Edinburgh, he was orphaned at a young age and subsequently educated at Heriot’s Hospital. He began his career as a goldsmith's apprentice, creating portrait miniatures before transitioning to oil painting, largely self-taught. Raeburn married the wealthy Ann Edgar, which enabled him to study art in Italy, where he was advised by Sir Joshua Reynolds and others. Upon returning to Edinburgh in 1787, Raeburn quickly gained success, painting notable figures like Sir Walter Scott and Dugald Stewart. He became known for his vigorous brushwork, strong characterizations, and dramatic lighting. His direct painting style and refusal to make preparatory sketches set him apart from contemporaries, incorporating elements of Romanticism. He was knighted by King George IV in 1822 and appointed the King’s limner for Scotland. He died in 1823 at his home in Stockbridge, Edinburgh. This distinguished three-quarter length portrait depicts Elizabeth Clough (b. circa 1970-1770s), matriarch of the Clough family of Keighley, West Yorkshire. The piece was commissioned by her son, John Clough (1799–1863), a prominent engineer and industrialist in Keighley. Clough owned and operated Grove Mills, a major worsted spinning and manufacturing facility which employed a significant portion of the local workforce. Elizabeth Clough is portrayed seated in an upholstered armchair, dressed in sober but elegant attire—a dark shawl and a crisp white cap tied beneath her chin. Her direct, steady gaze and flushed cheeks convey quiet strength and maternal dignity. The subdued, neutral background serves to emphasize the face and upper body, while still maintaining an airy and light feel. The face is rendered with sensitive modeling and naturalistic lighting, while the fabric of her garments contain blockier brushstrokes yet do not lose their sensitivity. These characteristics, combined with the information gleaned from the label, place this piece in the tradition of early 19th century Scottish portraiture.

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