Sir Henry Raeburn

Half Length Portrait of Mr. Robertson of Edinburgh

1790-1810

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.