497 
 
 BOUGHT WITH THE INCOME OF THE 
 
 FiSKE ENDOWMENT FUND 
 
 THE BEQUEST OF 
 
 LIBRARIAN OF THE UNIVERSITY 1868-1883 
 1905 
 
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The original of this book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924008748174 
 
Sir Henry Raeburn, R.A. 
 
SIR HENRY RAEBURN 
 
 [Photo Annan 
 
Sir Henry Raeburn, r.a 
 
 His Life and Works 
 
 With a Catalogue of His Pictures, 
 By 
 
 JAMES GREIG. 
 
 LONDON : 
 Published by 
 
 "THE CONNOISSEUR" 
 
 (OTTO LIMITED). 
 
 1911 
 S 
 
Preface. 
 
 " We cannot know enough about Sir Henry Raeburn. He was a great 
 artist and a splendid type of man," were the words used by a friend when 
 told that I had been commissioned to write a short Hfe of the Scots artist. 
 Up to comparatively recent days little was known of Raeburn. Indeed, 
 when the exhibition of his works was held at the French Gallery last 
 winter, there still were at least two people who had never heard his name, 
 for they addressed a letter to him at the Gallery, asking him if he were a 
 relation, and whether he could tell them anything of a long lost parent. An 
 excuse may be accepted for this ignorance, but none for the critics who, 
 surely owing to lack of knowledge of his work, dub Raeburn as a parodist of 
 Lawrence, or dismiss his claim by relegating him to a chapter headed " The 
 Contemporaries of Lawrence." But of later days a more intimate study of 
 his achievement has banished neglect and raised him, as we shall see, to 
 one of the highest places in Art. In 1863 his portraits were held in so little 
 repute that a fine " Sir Walter Scott as a Boy " was bought in at £3 5s., 
 and at the sale of his pictures in 1887 forty-nine of them realised only 
 £6,000. Since then the Scott portrait fetched 1,000 guineas, and two of 
 the portraits sold in 1887, the "Lady Raeburn" and the artist's own 
 portrait, now in the Scottish National Gallery, made between them in the 
 Tweedmouth Sale, 13,200 guineas — ten times the combined price of 1887. 
 
 But Raeburn's greatest triumph was on May 19th of this year when 
 Messrs. Duveen paid 22,300 guineas for his splendid portrait of " Mrs. 
 Robertson Williamson," and again July 14th the same firm gave 14,000 
 guineas for a very beautiful portrait of " Lady Janet Sinclair," who married 
 James Traill, of Hobbister and Rattar. In another part of this volume will 
 be found a description of these two pictures and an account of their sale at 
 Christie's. 
 
 My main object in writing this book was to supply fresh information 
 about Raeburn and his paintings, information of importance that is absent 
 from the standard work and subsequent monographs deaHng with him and 
 his Art. In the memoirs of Raeburn there is an unaccountable dearth 
 of letters by him, though Cunningham, his earliest biographer declares 
 that the artist " maintained an intercourse by letters with some of 
 the first literary men of his age," yet he gives portions only of two letters 
 written by Raeburn. Sir Walter Armstrong, in his " Sir Henry Raeburn," 
 
published in 1901, states that Raeburn "kept no diaries and no accounts, 
 and wrote no letters, so that in his case the usual channels of information 
 do not exist." But I am able to show that he did keep accounts (see 
 Chap. VI.) and I have been fortunate to bring together for the first time in 
 any monograph on Raeburn, about thirty letters. Nine of these documents 
 were brought to light by myself, and have never before been published in a 
 life of the artist. In the Ust of pictures will be found about 1,000 works, 
 which far exceeds the number hitherto recorded. Of course the list does 
 not give a complete account of his achievements. During last year several 
 works were disposed of at auction which appeared to me so doubtful, 
 that I have not ascribed them to Raeburn. On the whole, however, 
 I think there are few known portraits of merit omitted from my list. 
 In its preparation, Mr. James L. Caw, Director of the National Gallery of 
 Scotland ; Mr. W. Roberts ; Mr. D. Croal Thomson, of the French Gallery ; 
 Messrs. Colnaghi & Co., Messrs. J. J. Duveen, Sir George Cooper, and 
 others, gave me much help, for which I thank them. I also owe gratitude 
 to Mr. C. Fairfax Murray, Mr. James L. Caw, Mr. W. Roberts, and the 
 Buchanan Society, of Glasgow, for permission to use letters under their 
 control. 
 
 July, 1911. J. G. 
 
SIR HENRY RAEBURN, R.A. 
 
 INTRODUCTION. 
 
 THERE never was an artistic period. Art happens," said Whistler. 
 There certainly was not an artistic period in Scotland from 
 the Reformation, until Henry Raeburn " happened " from the 
 chaos that followed the iconoclasm of Knox and his adherents. 
 Nor did art suffer alone. The spirit that caused the destruction of the 
 splendid cathedrals and abbeys, with their decoration, crushed for a long 
 period the literature of the north country. But conditions changed and 
 art and literature once more flourished in Scotland, the one culminating 
 in the genius of Robert Burns, the other in the work of Sir Henry 
 Raeburn. For centuries, internecine strife between Church and State, 
 King and Covenant, kept Scotland in the direst poverty. It was otherwise 
 in Italy during the Renaissance. Art, religion and politics were 
 indissolubly associated, and wealth followed in their train. Towns waged 
 war against each other, Pope and Emperor in bloodly strife sought power, 
 votes were controlled by sword and spear, party hatred culminated in the 
 murder of candidates, -the clash of arms was seldom absent in street and 
 palace. So intense was the frenzy that some of the younger men waited 
 neither for helmet nor cuirass, but in their sarks they mounted their steeds 
 and charged the stubborn pikemen who lurked in dark corners, or rode 
 through showers of arrows, winged from high windows, until their ranks 
 were reduced to a few bleeding, worn-out figures, ready for prison or death. 
 If the fortunes of the day were on their side, they took possession of 
 lordly palazzo and desecrated the Cross because God, as they thought, 
 had favoured the enemy. Yet, amid all the tempestuous carnage, art — 
 " Italy's heritage from antiquity " — grew throughout the land. Artists 
 themselves, when neither fighting nor planning fortifications, as did Niccolo at 
 Naples and at Gaeto, and Michael Angelo at Florence, were carving votive 
 images, painting the story of Christ, tender representations of the Madonna 
 and angels, or raising to skies, ringing with the sounds of laughter or strife, 
 magnificent campanile, church, and dome. And when a great work was 
 created, when the Madonna of Cimabue* arose lifelike amid the rigid and 
 bloodless Byzantine effigies, the youths and maidens of Florence, in a 
 temporary period of peace, carried the painting in triumph to the transept 
 of Santa Maria Novella. Splendid cities grew. Arnolfo built a new and 
 glorious Florence ; the Siena that fascinates was created ; on grass- 
 covered ruins the Popes rebuilt Rome with the treasure derived from 
 vicious and victorious war. 
 
 It was not until after the union of the crowns that the material 
 resources of Scotland began to be developed. At intervals, the Civil War 
 
 * The advocates of the Sienese Schools say that it was Duccio, the Sienese, not 
 Cimabue, who painted this Madonna. 
 
and other troubles arrested progress, but at the end of the rebeUion of 
 '45 trade, commerce, and wealth, grew with amazing rapidity. Artistic 
 taste among the nouveaux riches, however, remained dormant for a 
 considerable time. Lord Cockburn wrote that " Scotland was neither rich 
 enough nor old enough for the rise of merchants princely in their taste." 
 Many years before the beginning of the Nineteenth Century, however a new 
 spirit moved the social and religious Hfe of Scotland. Without losing any of 
 their native force, Scotsmen gradually became refined under the influence 
 of more humane and generous ideas. Calvinistic puritanism and the exalted 
 austerity of the covenanters were fusing into a condition of greater 
 tolerance. This freedom of thought, growing with increasing prosperity, 
 gradually quickened the intellectual life of the nation, and when, in 1802, the 
 Edinburgk Review was founded, the Scottish capital had become the literary 
 and artistic centre of the country, attracting by its brilliance men of the 
 standing of Sydney Smith and Thomas de Quincey. 
 
 It was in this general awakening that Raeburn came, as it were " full 
 armed from the brains of Jove " — he received no training of any 
 consequence in the evolution of his genius ; his own personality and the 
 remarkable men and women of his time supplying the impetus for the 
 development of his art. Much has been written about the source of his 
 inspiration. Before Raeburn there were good painters born in Scotland, 
 but none of them showed any marked national style, no individual force. 
 They painted noble lords, proud lairds, and their ladies, but in a fashion 
 formed in England or on the Continent. 
 
 George Jameson, the " Scottish Vandyck," was the first known native 
 artist, he preceding Hogarth, by about a hundred years. Born in Aberdeen 
 on the 8th of February, 1587, Jameson was the son of an architect. An 
 instinct for art began to show itself early in his life, and while still a 
 youngster, he won local fame as a painter. His parents encouraged the 
 youth. We are told on doubtful authority that he was sent to Antwerp to 
 study in the studio of Rubens, where, it is said, Vandyck was among his 
 fellow students. How long he remained abroad is not known. But on his 
 return to Scotland, he began his professional career in Aberdeen, ultimately 
 removing to Edinburgh, where he was soon busy with commissions from 
 both factions in the party strife. He himself was a Royalist. His name is 
 found on a privy council register of 1641 as a " malcontent " opposed to 
 the Covenanters. Three years after this date Jameson died in the Scottish 
 capital, leaving a considerable number of portraits, among them those of 
 the great rivals Argyll and Montrose. 
 
 Of his successor, John Scougal, Httle is known. He was popular, but 
 his work is not marked by any strong individuality, which makes it 
 difficult to distinguish his portraits among those of the period that 
 are without recorded parentage. Sir John Medina, a Fleming of Spanish 
 origin, cannot, of course, be classed as a Scottish artist. He manufactured 
 portraits of the Scottish nobihty in the manner of Lely, adopting the 
 custom of the time of adding heads to bodies suppHed by costume painters 
 like Vanhaken, who we know was retained by two artists to give his 
 " exclusive and estimable " services at a salary of £800 a year. The result 
 of this combination was deplorable. All English portraits had, according 
 to the Abbe le Blanc, a family likeness. " The most sensible difference to 
 
WILLIAM FERGUSON, OF KILSIE 
 
 iPhoto Annan 
 
be observed between them was that in some, the heads were turned to 
 the left, in others, to the right. These effigies had the same flesh, the 
 same neck, and the same arms, the same attitude." 
 
 Medma's feebleness was still further reduced by his son and grandson, 
 ^? T^u ^ ^^^^ ^^^ ^^ considered, nor shall I do more than mention the art 
 ot Thomas Murray (1666-1724) and Joseph Michael Wright, both Scottish 
 °"y by birth and name. Their principal work was executed in London, 
 and has no national character. John Alexander (1690-1760) left no impress 
 on the art of his country, but his contemporary, William Aikman (1682-1731) 
 had decided artistic talent. He came of a good stock of Forfarshire lairds, 
 of Cairnie, near Arbroath. His enthusiasm for art was so great that he 
 sold his ancestral land in order to go to Rome to study, afterwards setthng 
 in Edinburgh in 1712. About eleven years later he went to London and 
 became a fashionable painter of refined taste. He died in 1731. Reference 
 may be made to Jeremiah Davidson, or Davison, who was born in England 
 of Scottish parents ; William Ferguson, John Smibert, and the two 
 Nories, the house decorators, who trained more than one successful 
 artist. 
 
 Pictorial art was not yet a living thing in Scotland, Art was chosen as a 
 career not because of any great innate impulse like that which moved the 
 Italians of the Renaissance. Some men become painters just as others 
 became plumbers. Most of the artists of the time might have " tossed " 
 for a profession and been equally successful in whichever m6tier the fall 
 of -the penny decreed for them. But the way was clearing. The spirit 
 of Art, after a long sleep, was beginning to rub its eyes, its feelings were 
 quickening. Material prosperity created the desire for intellectual culture 
 and supplied the means for its acquisition. The Scottish capital was 
 becoming a free place — free from great passion and hatred, feuds and 
 revenge, and zeal that cried for blood and fire. Its streets no longer rang 
 regularly with the sound of war, the clash of the steel of rival factions, of 
 church and state. It was in the main, a city of peace, of hard work that 
 warranted leisure. People were not afraid to express their thoughts in 
 trenchant or witty language. Laughter and revelry were common where 
 death and moaning had often been. It was in this Edinburgh of brighter 
 emotion that Allan Ramsay began his career as a poet. His mind well 
 stored with the folksongs of his own countryside, he at first did not feel 
 the necessity for personal expression. But the wig-maker was of a joyous 
 temperament, and when he tired of curling the hair of a " Hepburna " or 
 " a Campbella," or fitting the wig of a Lord or a rubicund advocate, he 
 sought for relaxation among the gay souls who frequented the clubs or 
 change houses in the Canongate or Luckenbooths. 
 
 In this congenial company and atmosphere, the muse of Scottish poetry 
 inspired the first important poet of the revival to "lisp in numbers." Soon 
 " Honest Allan's " songs became famous. " By-and-bye," says Mrs. 
 Oliphant, " the good-wives in their high lodgings, floor over floor, ever 
 glad of something new, learnt to send one of the bairns with a penny 
 to the wigmaker's shop in the afternoon to see if Allan Ramsay had 
 printed a new poem ; and received with rapture the damp broad-sheet 
 brought in fresh from the press, with a fable or a song in ' gude braid Scots,' or 
 a witty letter to some answering rhymster full of local names and things." 
 
Thus Allan's fame was spread, until it reached the ears of writers and 
 lawyers, professors and clergy. His business instinct widened with the 
 growth of his poetic fame. Bookselling was added to his other trade, 
 and, before long, he removed to the Luckenbooths, which was then a 
 sort of Piccadilly or Bond Street, and devoted himself entirely to 
 Bookselling. In 1726 he opened the first circulating library in Scotland, 
 and his shop became a meeting place for the eminent people of the day. 
 When the Duchess of Queensberry brought the poet Gay to Edinburgh, he 
 was among Ramsay's most frequent visitors at the shop which was adorned 
 with medallions of Ben Jonson and Drummond, of Hawthornden. Ramsay's 
 celebrity attained its zenith when he produced "The Gentle Shepherd," 
 one of the most exquisite pastorals in the Scottish dialect. The poem 
 won extraordinary popularity, yet, for all its beauty, few but students 
 now read the story of Jenny and Peggy, who talk so dehghtfully amid 
 the charming scenery of Hobby's Howe. 
 
 Despite this freedom, peace and gaiety, there were still strong 
 elements of political and religious unrest in Scotland, which found 
 vent in the frenzy of the Porteous Mob in Edinburgh, and in the Jacobite 
 risings of 1745. A certain section of the clergy were still stultified by 
 ideas so narrow that Ramsay's attempt to spread knowledge by means of 
 a circulating library was banned, and when, in 1736, he built a theatre 
 in Carruther's Close it was closed by the magistrates. But as Mr. James 
 L. Caw says in his admirable volume, " Scottish Painting, Past and 
 Present," " opposition could not withstand the quickening sense of life 
 for ever. It only postponed the inevitable. Art had its share, a small one 
 to be sure, in this httle renaissance of the joy of life." As we have seen, 
 Aikman was the most popular painter of his time in Edinburgh (1712-1723). 
 At £10 each he painted the notable men and women of the Scottish capital. 
 Among his most important achievements are the portrait of his cousin. 
 Sir John Clerk in his robes as Baron of Exchequer, a bust of the Sixth 
 Earl of Lauderdale, and the best likeness ever painted of Allan Ramsay, 
 the poet. Aikman's own image, by himself, is in the Uffizi, Florence. 
 Apart from a certain insight into character, his work has no suggestion of 
 nationality. A year after Aikman settled in Edinburgh, there was born to 
 the author of the "Gentle Shepherd" a son, that was destined to be the 
 greatest of Scottish painters prior to Raeburn. The lad was named after 
 his father, who encouraged him in his love of art. From his twelfth 
 year young Allan studied drawing alone, or in the studios of friendly artists, 
 for up to 1729 there was no school or academy of art in Edinburgh. At 
 that period, however, interest in art had grown to such an extent that 
 the " School of St. Luke," was inaugurated. But the movement was 
 premature, and the school soon ceased to exist. 
 
 Young Ramsay, then in his sixteenth year, was one of the working 
 members. When he was about twenty, he went to London and studied 
 at St. Martin's Lane Academy under Hogarth, and later, in the studio of 
 Hans Huyssing — a Swedish painter. His stay in London was brief. "The 
 seat of the beast beyond the Alps," as the elder Ramsay called Rome, 
 was the Mecca to which all artists of the period made a pilgrimage, and, 
 in 1736, the young painter went to the Eternal City. If the French 
 Academy, Solemina and Imperiale, did their best to denationalise his art 
 
and dwarf his personality, yet he acquired a considerable knowledge of 
 drawing and painting, and on his return to Edinburgh in 1738, he, for eighteen 
 years, easily held the first place as a portrait painter. A man of great refine- 
 ment and culture, Ramsay mingled with the leading men of Scotland, and 
 when, in 1756, he finally removed to London, his courtly manners and 
 scholarly attainments, more than his art, won him favour with the king 
 and queen and society generally. He was made portrait painter to 
 the court in 1767, and after that date he seldom produced a portrait 
 without the aid of his numerous assistants. Most of his fellow artists 
 and contemporary critics thought but Httle of his work. Reynolds 
 commended his sense, but not his art. Northcote thought his manner 
 " dry and timid," though he and Walpole praised his portraits of women 
 for their elegance. This quality, and his method of painting, are, 
 unmistakably, of Gaelic origin. 
 
 The Fair Woman Exhibition at the Grafton Gallery last year included 
 a very beautiful portrait of " Lady Susan Fox-Strangeways," which might 
 have passed for the work of an Eighteenth Century French artist. His 
 drawings also have much of the charm and grace that distinguish those 
 of Watteau and Quentin Latour. Altogether, his art is now held in higher 
 repute than it was in his lifetime. On the other hand, in contemporary 
 literary circles, he was much esteemed. Voltaire and Rousseau were 
 his friends. The latter's portrait by him hangs in the National Portrait 
 Gallery of Scotland. Dr. Johnson says: "You will not find a man in 
 whose conversation there is more instruction, more information, or more 
 elegance, than in Ramsay's." 
 
 Ramsay had reached his forty-third year when Raeburn was born 
 in 1756. At that date there was as yet no sign of any Scottish artist 
 of individual force, of purely national expression. But the country was 
 quickening assthetically. "A blast o' Janwar wind blew hansel" on 
 Robert Burns in 1759. Eleven years later came James Hogg, the 
 " Ettrick Shepherd," who wrote " Bonnie Kilmeny," a poem of exquisite 
 fancy ; in the following year the triad was completed by the birth of 
 Sir Walter Scott, so that in the course of sixteen years nature gave to 
 Scotland four men, who were to raise that nation from obscurity to a 
 place among the greatest in the hierarchy of literature and art. 
 
 It is interesting to note the character of these forms of artistic 
 expression, the pictorial and the literary. Burns, Hogg and Scott, though 
 they sang and wrote of eternal things, were, to a great extent, retrospective. 
 They came, as it were, from the past, lest it should be forgotten. Their's 
 were the voices long hushed by the silence enforcea oy repression and 
 poverty which were " wearin' awa' like snaw wreaths " in a glorious thaw. 
 
 Imagination, fancy, romance, transfused the different phases of Hfe 
 they represented in song or story. It was otherwise with Raeburn. He 
 had nothing immediate to do with the past, save to prepare for it by leaving 
 something noble and enduring to the future. No painter ever had a better 
 opportunity of fulfilling a destined purpose. In the course of his forty 
 years of working Hfe Scotland was in the forefront in Philosophy, Literature, 
 Poetry, Science, Law and Commerce. The dawn had more than justified its 
 promise. Scottish intellect won admiration all over the world. Strong 
 minds were fortified by strong bodies, and it fell to Raeburn to commemorate 
 
the men and women of this mighty period. With [the exception of 
 Burns and Hogg, he painted from life the portraits of all the eminent 
 Scotsmen of his generation, and, in the following pages, I shall attempt to 
 show how nobly he performed his appointed task. But before passing 
 to consider his life and work, it may be of interest to glance at the 
 condition of art in England and on the Continent at the date of his birth. 
 
 We have seen how art stood in Scotland about the middle of the 
 Eighteenth Century. Allan Ramsay was the one native artist of distinction 
 — David Allan, Wilkie's precursor in genre painting, was twelve years old in 
 1756, and the only place where academic training could be obtained was at 
 the school established in Glasgow in 1753 by the Brothers Foulis. The 
 Trustees' Academy was not opened in Edinburgh until 1760. 
 
 Across the border, Hogarth had long since broken with the convention 
 that denationalised Enghsh art, Joshua Reynolds had moved to Great 
 Newport Street, and was so busy that he began to keep the diaries that are 
 now so valuable; Gainsborough was preparing himself in, Ipswich for the 
 great achievements of later years. Watteau was dead, but his influence 
 moved in the work of Fragonard ; Latour and Perronneau were producing 
 magnificent pastels of their fellow countrymen ; Carle van Loo was rector of 
 the Academic des Beaux Arts, Paris ; Drouais was emulating Boucher and 
 Nattier in painting the portraits of members of the court of Louis Quinze ; 
 Chardin, was immortalising the petite bourgeoisie and painting natures mortes 
 with a breadth and veracity that excelled the work of the earlier Flemish 
 and Dutch artists ; while Greuze was delighting the heart of Diderot with 
 his exposition of the melodramatic philosophy of the day in pictures 
 like " Le Malediction Paternelle," and " Le Fils Puni." 
 
 Across the Alps, Longhi was giving to or receiving hints from Hogarth ; 
 Canale and Guardi were commemorating the glory of Venice ; and Tiepolo 
 was surpassing all decorators with his superb mural and easel paintings. But 
 it was not they who dominated art in Italy. This power belonged to second- 
 rate painters like Pompeo Battoni and Rafael Mengs, the art pontiffs of 
 Rome, during many years. In Holland and Flanders, artists were trying to 
 mix, shall I say, wine with the lees of Seventeenth Century Dutch and 
 Flemish art, and Spain was waiting for the ten year old Goya to revive its 
 artistic glory. 
 
 With one or two exceptions, the names of the foreign artists mentioned 
 in this brief summary suggest that art on the continent had become anaemic 
 in consequence of a period of artificial and cloying nourishment, and offered 
 little inspiration to nascent genius. In England a healthier influence was 
 apparent. The spirit of Rubens, Vandyck, Watteau and the Venetians 
 (Velasquez was not yet recognised) was quickening the soul of Hogarth, 
 Reynolds and Gainsborough. Scotland was still retardataire. The elements 
 for the fructification of the artistic temperament were ready, when Raeburn 
 came. They at once began to act on his genius, and their impulse never left 
 him — he was greatest at the end of his life. 
 
[Photo Annan 
 
 SIR JOHN SINCLAIR, BART. 
 
CHAPTER I. 
 
 Birth and Early Days. 
 
 The earlier family history of Sir Henry Raeburn is more or less conjectural. 
 On one occasion Sir Walter Scott, in referring to a field near Selkirk, said : 
 "There, a relation of my own, a Scott of Raeburn, fought a dual," and 
 Morrison, in his " Reminiscences," published in TaWs Magazine, says that 
 " On a ride with Sir Walter Scott to call on his relation, Mr. Scott, of 
 Raeburn, we visited the Eildon Tree." Sir Walter was then at Abbotsford, 
 and from this it has been inferred that Raeburn was in Tweedale. On the 
 other hand, William Raeburn Andrew, Sir Henry Raeburn's great grandson, 
 describes it as a hill-farm in Annandale, still held, when he wrote in 1886, by 
 Sir Walter Scott's family. There seems to be no doubt that this spot is on 
 the Scottish borderland — the painter's forefathers probably taking their name 
 from the Hill farm of Raeburn, hence the reason for Sir Henry styling 
 himself " Raeburn of that ilk." On his shield is a rae of roe-deer drinking 
 from a burn or stream at its feet. The crest is a roe's head, with the 
 Motto : " Robur in Deo." His ancestors were, probably, bonnet-lairds. In 
 different accounts we read of them as reivers, who raided their neighbours 
 on both sides of the Border ; and as soldiers of war who fought their 
 country battles against the invading English, until the union of the crowns 
 brought peace. Then they laid down the sword for the plough-share, 
 cultivating their land in peace until, perhaps, about the troublous time of 
 1715, one of their number, Robert Raeburn, gave up pastoral life in the 
 charming border country for milling or yarn boiling in Stockbridge, at that 
 time a suburb of Edinburgh. That spot was probably chosen because of 
 its closeness to the Water of Leith, and of the growing importance of 
 Edinburgh in trade and commerce. Robert Raeburn, who, we are told, was 
 a very worthy man, married Ann Elder, described as a tender, motherly 
 lady. Two sons came of the marriage, WiUiam, born in 1744, and Henry, 
 born on the 4th March, 1756. Unfortunately, they were left orphans when 
 the elder was a lad of sixteen or seventeen, but he had real Scottish grit 
 and continued his father's business. In Chamber's Biographical " Dictionary 
 of Eminent Scotsmen " it is stated that William, with heartfelt satisfaction, 
 gave his brother Henry " the scanty, but usual, education of the period." 
 Whatever WiUiam did for his younger brother, it is certain that Henry 
 was a pupil at Heriot's Hospital, an institution similar in character to 
 Christ's Hospital. In the minutes of the hospital board, dated 15th April, 
 1765, we read that a presentation was laid before the Governors, "granted 
 by Sarah Sandilands, relict of Thomas Durham, of Boghead, in favour of 
 Henry, son of Robert Raeburn, Burgess and Freeman, whose parents are 
 both dead." At this institution, founded by George Heriot (Scott's 
 "Jingling Geordie") the famous goldsmith, young Raeburn's career was 
 fairly successful. He was fond of drawing figures on his slate or copybook 
 — most boys are — but he did not neglect his ordinary studies, for, on the 
 4th of June, 1770, Henry Raeburn and Francis Ronaldson were each 
 
awarded for their skill in writing, etc., the sum of one pound, five shillings 
 sterling accruing from Dean of Guild Heriot's Mortification. In the 
 following year Henry was again considered best entitled to a similar 
 reward. It was at this period that he is supposed to have left school and 
 was apprenticed to Mr. Gilliland, the goldsmith, whose shop was located in 
 a dark close in the Luckenbooths, near by St. Giles's Church. 
 
 The craft of the goldsmith in Scotland is of old date. As early as 1457 
 the maker's mark identified pieces of Edinburgh origin ; from 1457 to 1681 
 the standard mark was formed of the deacon's initials ; the assay master's 
 from 1681 to 1759, which was then superseded by the thistle, "the town 
 mark of a castle " from 1483, the date letter from 1681-2, and the duty mark 
 of the Sovereigns' heads from 1784, as in England. Cripps gives a long list 
 of Edinburgh deacons' names from 1525 to 1682, which shows that the art 
 was practised without a break throughout the Reformation and revolu- 
 tionary epochs. Many of the objects produced, were, unfortunately, 
 destroyed in troublous times, but there is still much old Scottish silver in 
 existence, but owners will not part with it, except at enormous prices. 
 Recently, a piece of Tudor, or Sixteenth Century date, passed to a Scottish 
 collection at £5,000, while the following account of a sale of a " Quaigh," 
 which appeared in the Morning Post of March 25th, 1909, also gives an idea 
 of the value of old Scots silverwork : 
 
 " ' The linguists were much concerned yesterday at Christie's,' says the chronicler. 
 ' A Scotch Quaigh ' was announced for sale. The Cataloguer's knowledge of the value 
 of this vessel was revealed in the ■ small caps.' heading, and the only person who 
 reached near to the correct pronunciation of the word was Mr. Anderson (a Scot). The 
 vessel is synonymous with the Gaelic cuach, the old Irish cuach, the Greek kavka 
 the Welsh cawg, and probably the latin caucus, and is, in reality, a drinking cup which 
 in earlier, times, was made of wooden staves. Hence the radiating lines which 
 characterise the bowl in question. Sir John Fowlis mentions a quech weighing- '18 
 ounces and 10 drops'; in ' Marmion ' we read the ' quaighs were deep, the liquor 
 strong'; Mrs. Carlyle wrote in 1849 that 'in passing a cooper's shop .... I 
 stept in and bought two little quaighs ' ; while Queen Victoria, in ' More Leaves,' 
 refers to ' a silver quaigh out of which Prince Charles Edward drank.' The quaigh is 
 otherwise familiar in literature. For instance, Smollett, in ' Humphrey Clinker' says 
 ' the spirits were drunk out of a silver quaff.' 
 
 " This introduction is necessary to the report of the sale at Christie's of a silver quaigh 
 weighing 14 oz. 12 dwt., and bearing the Glasgow hall mark of 1665. The maker was 
 probably modest Thomas Moncurr, and the cup may well be the first piece of silver 
 plate emanating from the Western Scottish Metropolis. Certainly, there is no larger 
 nor earlier piece known. Mr. Holms, of Paisley, has a smaller and later quaigh, and 
 others still smaller have been sold. The cup purchased yesterday by Messrs. Crichton 
 at £28 an ounce may, therefore, be considered ' unique.' The design is simple — con- 
 ventional thistles, roses, flowers, etc. — the silver of the purest, and its quality and 
 ornament indicates its Carlovian origin. It measures 7-f in. diameter of bowl by lljin. 
 wide. The maker's mark is T.M., with crown above, pellet between, and heart below 
 in shaped shield, twice repeated. On the lip the following letters are engraved: 
 ' M.R.S.C.L.' The exact price may be given, £408 168. (560s. per oz.)." 
 
 This reference to old silver will show that young Raeburn, in selecting 
 a trade or craft of great historic importance in Scotland, was emulating the 
 sculptors of the Italian Renaissance, Donatello, Verrochio, and Cellini to 
 name but three who were famous goldsmiths. Gainsborough, also, began 
 life in London as a gold or silversmith, and the practice was of considerable 
 service to him, as it must have been to Raeburn, in developing his sense of 
 design and sureness of hsnd and eye. Apart from this impetus, the Scot 
 
had, in all likelihood, an opportunity of seeing in Gilliland's shop specimens of 
 pictorial art in the shape of miniatures which came to be set in gold or silver. 
 At any rate, we know that it was in " painting in little " that his genius first 
 found expression. There is no evidence to show where he received his early 
 training in draughtsmanship. While still at Heriot's he may have spent 
 some of his spare hours at the Trustees' Academy, under the direction of 
 Delacour (an imitator of Watteau) and Pavilion, and, during his apprentice- 
 ship, Alexander Runciman, then Director of the Academy, may have given 
 him advice. Wherever he was taught he seems early to have acquired a 
 certain facility and sureness of drawing which grew speedily to maturity. 
 There is some proof of this in "A Tribute to the memory of Sir Henry 
 Raeburn," made in a speech by Dr. Andrew Duncan, shortly after the 
 painter's death. Charles Darwin, a son of Dr. Erasmus Darwin, author 
 of the " Botanic Garden," a now forgotten poem, and uncle of Charles 
 Robert Darwin, of natural history fame, was a pupil in the medical 
 class of Dr. Duncan. In the dissecting room the student contracted blood- 
 poisoning and died, it is supposed, about 1778, when he was twenty 
 years old. 
 
 " On the death of young Darwin," says Dr. Duncan, " I was 
 anxious to retain some slight token in remembrance of my highly- 
 esteemed young friend, and, for that purpose, I obtained a small portion of 
 his hair. I applied to Mr. Gilliland to have it preserved in a mourning ring. 
 He told me that one of his present apprentices was a young man of great 
 genius, and could prepare for me in hair a memorial that would demonstrate 
 both taste and art. Young Raeburn was immediately called, and proposed 
 to execute on a small trinket, which might be hung at a watch, a muse 
 weeping over an urn, marked with the initials of Charles Darwin. The 
 trinket was finished by Raeburn in a manner which, to me, afforded manifest 
 proof of very superior genius, and I still preserve it as a memorial of the 
 singular and early merit both of Darwin and Raeburn." If Dr. Duncan's 
 story may be accepted, then Raeburn was twenty-two years of age at the 
 time this commission was executed, and still an apprentice to Gilliland. Mr. 
 James L. Caw, on the authority of Miss Deuchar, avers that her Great- 
 Great-Grandfather, David Deuchar, who was a seal engraver and etcher, 
 called to see Raeburn's master not long after the apprenticeship had begun, 
 and found the youth drawing a portrait of himself. Deuchar, seeing signs 
 of promise in the sketch, and finding that Raeburn had not received any 
 training, offered to give him an hour's teaching after business hours, once 
 or twice a week; The offer was accepted, and, before long, it was apparent 
 to Deuchar that the lad's talent lay in the direction of portrait painting. 
 On the strength of this conviction he spoke to "the mild and worthy" 
 Gilliland, and the result of the consultation was that Raeburn and David 
 Martin (1737-98), the leading portrait painter in Scotland, were introduced. 
 There is some confusion about these statements. Martin did not settle in 
 Edinburgh until 1775, so that Raeburn had been at least three years with 
 Gilliland previous to his meeting with Martin. By that time the lad had 
 painted many miniatures, among them those of Deuchar and Dr. Andrew 
 Wood, the former, if mechanical, having a certain sense of character 
 expressed with considerable decision, while the latter, evidently the later of 
 the two, shows a distinct advance in colour and freedom of modelling. An 
 
admirable miniature was lately acquired by Mr. J. L. Caw for his own 
 collection, which he is fully justified in believing to be an early work by 
 Raeburn, executed during his apprenticeship with Gilhland, the silversmith, 
 It resembles in every way his authenic " paintings in little " of that period. 
 The eyes, in particular, have a vivacity of expression unusual in the work of 
 his contemporaries, and the modelling shows keen observation and consider- 
 able knowledge of structure. Raeburn and Martin soon separated, jealousy 
 on the part of the elder man being hinted at as the cause of the severance. 
 Martin was an indifferent painter, whose style was formed on that of 
 Ramsay, in whose London factory he assisted his master to produce 
 puppet-like copies of the effigies of the King and Queen and their courtiers. 
 Martin, aware of his own weakness and the lad's fresh outlook and 
 individual expression, seemingly did everything to prevent him from acquir- 
 ing any knowledge of his profession. He lent him pictures to copy, but gave 
 him no technical advice. He had to discover everything for himself ; how to 
 prepare his colours, place them on his palette, and, as Cunningham says, to 
 apply them "according to the rules of art as taught in the academies 
 . . . . Raeburn had to make experiments, and drudge to acquire what 
 belongs to the mechanical labour and not to the Genius of Art." But all 
 this drudgery was a blessing in disguise. For had Martin revealed to the 
 youth what he considered to be the masonic secrets of the artistic 
 profession it might have taken Raeburn a long time, despite his originality, 
 to free his genius from the trammels of a cart-horse convention. So 
 that Raeburn acted wisely in leaving Martin when the latter accused 
 him of selling a copy of a picture which he, Raeburn, had made. 
 Martin's resentment, it is stated, did not diminish after they parted, for 
 when Raeburn returned from the eternal city in 1787, Martin remarked that 
 " the lad in George Street painted better before he went to Rome." I am 
 inclined to doubt this saying chiefly on the score that Raeburn was no 
 longer a lad at this period, he having reached his thirty-first year, and been 
 married some nine years. The story may be set down as merely a repetition 
 of what Hudson said to Reynolds : " By G — , Reynolds, you don't paint so 
 well as when you left England." Whatever feeling actuated Martin, 
 Raeburn, in later life, spoke of his kindness at their first meeting and with 
 approval of his portraits, which Cunningham says were to Raeburn what the 
 Verses of Fergusson were to Burns, and the result was not dissimilar." The 
 comparison is good, though it must be added that Fergusson was a far finer 
 artist in words than was Martin in paint. The contact with Martin evidently 
 affected Raeburn in one very important way. It gave him the impetus to 
 break with the confinement of miniature for the breadth and force of paint- 
 ing on a life-size canvas. In the year following his probable meeting with 
 Martin, Raeburn produced m 1776 his portrait of George Chambers, of 
 Pittencrief, now the property of Dunfermline Town Council, a remarkable 
 work for a youth of twenty who had no academic training that we know of, 
 and whose eye and hand had been but lately limited to the space of a few 
 inches of ivory or card. 
 
 The story that Raeburn was hard up in his youth is somewhat 
 apocryphal. He was an orphan, but from the time he left school he began 
 to earn money, and we may suppose that his brother WiUiam was reaping a 
 fair reward for his labours in the yarn-boiling business, and that, if necessary, 
 
[Photo Annan 
 
 LADY RAEBURN 
 
he would share his fortune, however small, to help young Henry. No doubt, 
 economy had to be considered, but the want of a meal or money to buy 
 paint or canvas was not the lot of Raeburn. A story bearing on this 
 question is told by Cunningham, whose fiction is frequently not founded on 
 fact. Raeburn became acquainted with a young advocate, John Clerk, 
 afterwards known as Lord Eldin, who was famous as a lawyer, cynic and 
 wit. Both were then poor, the gossip goes, though Clerk was a son of John 
 Clerk, of Eldin, and grandson of Sir John Clerk, of Penicuik. The truth 
 may be that Clerk was a young spendthrift and soon exhausted his 
 regulation allowance of pocket money. On one of the occasions of financial 
 shortage he invited the artist to dine with him at his lodgings. When 
 RaeJDurn arrived, no doubt, feeling very hungry, the landlady was 
 placing on the table two plates ; on one were three herrings, on the 
 other, three potatoes. 
 
 "Is this a' " ? cried Clerk in anger. 
 
 "Ay," she quietly replied, "it's a'"! 
 
 " A','' he answered, with emphasis, " didn't I tell you, wumman, that 
 a gentleman was to dine wi' me, and that ye were to get six herrin' and six 
 potatoes ?" 
 
 Humble fare, like this, was not uncommon even among the well-to-do of 
 those days. " They knew how to combine thrift and pleasure. They supped 
 sumptuously on rizzered baddies or sheep-head and trotters in lowly 
 quarters, where they could themselves keep an eye on the cooking." The 
 members of the " Spendthrift Club " were debarred from paying more than 
 a " groat and a half " on supper. The " Marrow Bones Club " feasted on 
 marrow bones in the belief that " a large quantity of drink could be super- 
 imposed " on the top of that savoury dish. 
 
 The social habits of Edinburgh in Raeburn's day were characterised by 
 the excess of freedom that comes after a long period of repression. In his 
 earlier years its life was, to a great extent, still decorous. In 1763 it was 
 " fashionable to go to church, and people were interested in religion. 
 Sunday was observed strictly by all ranks as a day of devotion ; it was 
 disgraceful to be seen in the streets during the time of worship." The same 
 chronicler relates that twenty years later, two years before Raeburn went to 
 Rome, " attendance at church is much neglected ; Sunday is made a day of 
 relaxation ; families think it ungenteel to take their domestics to church 
 with them ; the streets are often crowded in the time of worship, and in the 
 evenings they are often loose and riotous. Family worship is almost totally 
 disused; and it is even wearing out among the clergy." One of the 
 number the Rev. John Home wrote a play " Douglas " which was acted in 
 the old playhouse in the Canongate amid the applause of other ministers. The 
 zealots drove him from his kirk, but in a brief time on the north side of 
 the " cave of the winds " there rose on the site of the present General 
 Post Office the first regularly licensed theatre in Edinburgh. In a few 
 graphic phrases Henley sums up the Scottish Capital of the latter 
 period. It was he says " a centre of conviviality — a city of clubs and talk 
 and good fellowship — a city of harlotry and high jinks — a city above all, of 
 drink." 
 
 " Whare Couthie chiels at e'enin' meet 
 Their bizzin' craigs and mous to weet.'' 
 
If the moral, social and intellectual life of Edinburgh was changing, the 
 physical aspects of the city also were beginning to move with the mutability 
 of human progress. The population of the Scottish capital was outgrowing 
 the space of the romantic ridge running from the castle to Holyrood. At 
 the date of Raeburn's birth, it was no longer necessary for strategic reasons 
 to confine Edinburgh to the limits of this picturesque barrier that still 
 stretches between the Border and the Highlands. The wealthy classes 
 grew tired of cHmbing up tortuous flights of dark stairs to dingy small 
 rooms in lofty tenements, " where they could shake hands with their 
 neighbours on the other side of the close." It was not uncommon in those 
 days for all the members of a well-to-do family to sleep in the same chamber, 
 the children with their nurse occupying beds which were laid down each 
 night on the floor while the house-maid slept on the bottom of the kitchen 
 dresser, and if there was a man-servant he had to find apartments elsewhere. 
 The nobility, gentry and the thriving merchants, the ladies of rank, and the 
 wives of tradesmen were no longer content with these uncomfortable 
 conditions. Peace opened the way to the expansion of social ambition, and 
 individual independence. Prosperity supplied the gold to vault ambition and 
 gild independence. This imposing "temple of the winds," with its long 
 dirty alleys, had served its day. It had played a great part in Scottish 
 history. Feud and foray were ended ; English invaders no longer stormed 
 the "high altar" of the Temple, the last enemies of freedom, the "unco 
 guid " of the kirk were diminishing. The city might now with safety break 
 down its northern ramparts. The time was past : 
 
 " How when a mountain chief his bugle blew, 
 Both field and forest, dingle, cliff and dell, 
 And solitarj' heath the signal knew." 
 
 The swamp of the Nor' Loch could now be filled up. Zealots and heretics, 
 witches and gipsies were no longer drowned in its marshy wilderness of 
 water. Instead of a means of defence it was an offence, a " pest bed," that 
 must be cleaned. But it took a long stretch of years to effect this purpose. 
 As late as 1816 there remained a portion of the Nor' Loch which was 
 described by Lord Cockburn as a filthy impassable swamp, " the receptacle 
 of many sewers and seemingly of all the worried cats, the drowned dogs 
 and blackguardism of the city." 
 
 The foundation of the magnificent Edinburgh of to-day was laid about 
 1765, when Raeburn was nine years old. On a plan of the city of that 
 period, says Mr. John Geddie in his excellent " Romantic Edinburgh," 
 there is traced at the bottom of that " hollow of the winds" which divided 
 what is now known as the New Town from the Old, the solitary pier of a 
 bridge. " It is the footprint of Old Edinburgh setting out for fresh woods 
 and pastures new. 
 
 But it took seven years to complete the spanning of the newly reclaimed 
 and unstable soil. On the north side there were then but few buildings on 
 the bare land, and the scanty population consisted chiefly of wastrels, the 
 flotsam and jetsam of life — poachers and smugglers, linkboys and beggars 
 who made the neighbourhood not altogether safe, at night time in particular. 
 By-and-bye, however, the new town grew — a new town that bore no 
 resemblance to the old pile opposite. The architecture of Greece and Rome 
 was imitated. Domes shot up triumphantly to the sky, Corinthian 
 
columns stood erect and proud as if mocking the decrepit tenements on the 
 hill, and huge, dull Georgian houses were built for the big folks who came 
 crowding across the North Bridge leaving " auld Reekie " to its poverty 
 and squalor. Certain members of the aristocracy, gentry and the learned 
 classes were " sweer " to flit from their old homes and haunts. They were 
 loath to forsake the laughter and jest, the convivial clubs and the drinking 
 "howfi's" for the snug rectitude of Hanoverian Edinburgh. In time, like 
 sheep, they followed the lead. Lord and lady, lawyer and philosopher, 
 famous doctor and historian and literary men flocked to the more spacious 
 if less inspiring pens of the New Town. Had it not been for men of taste 
 like Lord Cockburn and Henry Mackenzie, the " man of feeling," the 
 Edinburgh — that is, the Princes Street of to-day, would have borne a far 
 different aspect. They protested against the erection of a large block of 
 buildings on whose site now towers a huge railway hotel despite spirited 
 opposition. From this point westward, however, Princes Street has been 
 saved from the vandals. The glorious view to the south will remain for 
 all time. The " Poem of Princes Street," as Alexander Smith called it will 
 continue to move in its present noble rhythm, now joyous with sunshine, 
 now moist with wind-driven rain, or grey with the "haar " trailing ghost- 
 like from the north sea. " The puppets of the busy and many-coloured 
 hour," will continue to flaunt the fine clothes and gaze across the ravine, 
 where '* time has piled the Old Town ridge on ridge, grey as a rocky coast, 
 washed and worn by the foam of centuries ; peaked and jagged by gable 
 and roof ; windowed from basement to cope ; the whole surmounted by 
 St. Giles's airy crown. The new is there looking to the old. Two times 
 are brought face to face, and are yet separated by a thousand years." 
 
 I wonder why this city " half as old as time," this " Poem of Princes 
 Street," has never inspired a landscape painter as the great men of Raeburn's 
 day inspired him. Many have tried to represent the old and the new, 
 but of all artists who have made the attempt in paint, none has been so 
 deeply endowed with the historic sense, the spirit of age and romance as 
 Sir George Reid. He is a worthy successor to Raeburn, as a realistic painter 
 of strong, intellectual Scotsman, but in landscape his art is all emotion and 
 his finest efforts are his illustrations to Mrs. Oliphant's " Royal Edinburgh." 
 No one has given a better pictorial translation of Sir Walter Scott's 
 description of Edinburgh in " Guy Mannering," than has Sir George Reid in 
 his drawing " St. Giles from Princes Street." Here we have the suggestion 
 of eternally changing bustle : A spectacle which, though composed 
 of the most vulgar materials, when they are separately considered, has 
 a striking and powerful eff^ect on the imagination. In this beautiful 
 picture we see the extraordinary height of the houses marked by 
 lights which glimmer irregularly along their front, ascending high among 
 the attics and seeming at length to twinkle in the middle sky. Some 
 day, perhaps, a great Scots landscape painter will come — a Turner not 
 a Canaletto — and do in paint what Sir George Reid has achieved in 
 monochrome. 
 
CHAPTER II. 
 
 Raeburn's Marriage. 
 
 Good fortune came to Raeburn on his marriage to a wealthy widow. Allan 
 Cunningham with his usual leaning to romance tells a story of Raeburn's 
 first meeting with his future wife that is almost similar to the tale he told 
 about Gainsborough's courtship. The young Scots artist was out in a 
 wood one day sketching when he saw a charming lady whose figure he 
 introduced into his picture. Whether she was conscious of this honour to 
 her beauty we are not assured. At any rate not long after this alleged 
 incident a little lady of demure and winsome appearance called at Raeburn's 
 studio and asked if he would paint her portrait. He remembered the face, 
 became interested and no doubt was more courteous than usual. The 
 commission was accepted with pleasure, the sitting began at once. While 
 the artist painted his visitor watched his dark eyes and handsome face grow 
 animated as the work proceeded. He noted perhaps, that his visitor was 
 no longer a girl — she was indeed twelve years older than himself. But she 
 looked very pleasant, her soft dark eyes had a certain allure, her full yet 
 graceful figure appealed to his sense of form. With each sitting the artist 
 and his model unconsciously opened out to the other's attraction and in the 
 end, within the short period of a month the pair were married. Thus at 
 twenty-two Raeburn, says Cunningham, had won " an affectionate wife and 
 a handsome dowry " which was quite true, but the manner of their meeting 
 and courtship, as Fulcher showed in the case of the Gainsborough story, 
 was more prosaic in character. The lady who became his wife lived in 
 Deanhaugh House which stood so close to his own residence, that the 
 artist and his future spouse must have known each other. He must have 
 been aware that she was a widow of the name of Leslie ; his local fame had 
 surely reached her long before their marriage. She was Ann Edgar, 
 daughter of Peter Edgar, Laird of Bridgelands, Peebles-shire, and factor to 
 the Earl of Selkirk. About 1768 she married James Leslie of Balquhun, 
 who, while abroad, was created a Count. At his death she was left with a 
 boy, who was accidentally drowned, two girls and considerable property. 
 Raeburn was a shrewd practical person but too sincere and manly to have 
 jumped at a marriage de convcnance ; his sensitive temperament would have 
 rebelled at the idea of binding himself for life to a widow twelve years older 
 than himself with two children, in order to gain some worldly pelf. At the 
 time of his marriage he must have been earning more than enough to keep 
 himself, while consciousness of his growing artistic power would strengthen 
 his spirit of independence. I believe, therefore, that the marriage was a 
 real love match and their after life fully justifies this faith. Raeburn's 
 great grandson, Mr. Andrew, says that the artist " fell in love with his 
 sitter and made a very fine portrait of her." Nothing is known of this 
 portrait, the only certain likeness of her being the magnificent canvas which 
 brought 8,000 guineas in the Tweedmouth sale at Christie's in 1905. This 
 picture, now the property of Sir Ernest Cassel, represents her as a 
 
REGINALD GEORGE MACPONALD, OF CLANRONALD 
 AND HIS TWO YOUNGER BROTHERS 
 
 [Photo- Annan 
 
typically Scots lady of forty-five. The face is strong but kindly, with a 
 quiet, intense, yet motherly passion working in the full well-formed mouth 
 and in the tender honest eyes. Their Hfe was ideal in its happiness. Mrs. 
 Ferrier, eldest daughter of "Christopher North," and then widow of 
 professor Ferrier, of St. Andrews, gave Dr. John Brown a most delightful 
 account of the Raeburn family at St. Bernard's House. 
 
 "More than half a Century ago" she says " I was frequently in my 
 childhood at St. Bernard's House, on the banks of the water of Leith, which 
 was in those days green and smooth to the river's edge. This old house 
 was reached by a broad avenue of trees and shrubbery from Ann Street, 
 where we lived for some years ; this would be about 1820. This interesting 
 old house was surrounded by large green fields, a fine orchard of apple and 
 pear trees, and leading from this was another avenue of old stately elms, 
 part of which still remains with the rookery in St. Bernard's crescent. On 
 the right of this avenue was a nice old garden, well stocked and with hot- 
 houses. 
 
 "In this ancient mansion Hved the Raeburn family, with whom we were 
 very intimate as children likewise. School companions, though there were 
 some years between our ages. Sir Henry and Lady Raeburn, and their son 
 and his wife with three children, comprised the family party at this time. 
 The great portrait-painter, as far as I can recollect him, had a very 
 impressive appearance, his full, dark, lustrous eyes, with ample brow and 
 dark hair, at this time scant. His tall frame had a dignified aspect. I can 
 well remember him, seated in an armchair in the evening, at the fireside of 
 the small drawing room, newspaper in his hand, with his family around 
 him. His usual mode of address to us when we were spending the evenings, 
 while he held out his hand with a kind smile, was ' well my dears, what is 
 your opinion of things in general to-day ? ' These words always filled us 
 with consternation, and we all huddled together like a flock of scared sheep, 
 vainly attempting some answer by gazing from one to the other ; and with 
 what delight and sense of freedom we were led away to be seated at the 
 tea-table, covered with cookies, bread and butter and jelly ! From this 
 place of security we stole now and then a fearful glance at the armchair in 
 which Sir Henry reclined. After tea we were permitted to go away for 
 play to another room, we made as much noise as we liked, and generally 
 managed to disturb old Lady Raeburn. This old lady was quite a character, 
 and always spoke in broad Scotch ; then common among the old families, now 
 extinct. I can never forget the manner in which we uproarous creatures 
 tormented her, flinging open the door of her snug little room, whither she 
 had fled for a little quiet from our incessant provocations and unwearied 
 inventions at amusement, which usually reached the cHmax by throwing 
 bed-pillows at her and nearly smothering her small figure. At this juncture 
 she would rise up, and, opening the door of a cupboard, would bring out of 
 it a magnificent bunch of grapes which she endeavoured to divide among us 
 with these words of entreaty, ' Hoot, hoot, bairns, here's some grapes for 
 ye ; no' gang awa' an' behave yersels, like gude bairns, and dinna deave me 
 any mair.' For a short time the remedy effected a lull in the storm, which, 
 at the least hint, was ready to set in with renewed vigour. She would then 
 throw out of a wardrobe shawls, turbans, bonnets, and gear of all sorts and 
 colours, in which we arranged ourselves to hold our court, Anne Raeburn, 
 
being very often our queen." Miss Ferrier continuing her narrative gives 
 a graphic description of a " Cuddy Headrigg " sort of a man who was fed 
 and supported by the family. His name was Barclay, but he was familiarly 
 known as " Shelley " because his chief duty was the shelling of peas. This 
 old half-witted creature was short of stature and of most miserable aspect. 
 On his head an old grey hat crushed over his face, which was grizzly with 
 unshaven beard. He wore a long-tailed coat, probably one of Sir Henry's, 
 and always had a long stick in his hand. 
 
 We wished to be very familiar with him, but were never at our ease, 
 owing to his strange appearance and his shuffling gait. He exercised a 
 great fascination over us and we used to ask him to tell us stories, although 
 he was nearly idiotic, " silly," to use a common Scotch phrase. He often 
 said, as he turned round and pointed to the banks of the river, " Oo aye, 
 bairns, I can well remember Adam and Eve skelpin' aboot naket amang the 
 gowans on the braes there." 
 
 This picture is of Sir Henry's life near its close, but it represents his 
 family environment throughout his career, from the time of his marriage, 
 when he removed to Deanhaugh House, which belonged to the Leslie 
 property, until his death at St. Bernard's in 1823. When Raeburn left 
 Deanhaugh about 1809 Mrs. Ann Inglis, one of his step-daughters, whose 
 husband died in India, occupied the house with her two boys Henry Raeburn 
 Inglis and Charles James Leslie Inglis. The former who was deaf and 
 dumb was the original of the artist's Royal Academy diploma picture, the 
 " Boy and the Rabbit." By the time of their mother's death, the house 
 had fallen on degenerate days. The rapid growth of Edinburgh spread 
 houses all around it, and the mansion was divided into tenements. In this 
 condition it remained for many years "as something that now had no right 
 to be there," before it was " swept away to make room for the extension of 
 Leslie Place." 
 
 The happy domestic conditions just described are perhaps more 
 essential to painters — portrait painters, at least, than to poets who " learn 
 in suffering what they teach in song," which is sweetest when it tells of 
 " saddest thought." The portrait painter must assume happiness and seem 
 fairly comfortable before he can hope to attract wealthy sitters. The 
 ramshackle studio or leaky mansard in the clouds ; the unkempt hair and 
 shabby clothes may not interfere with the creation of great works of 
 imagination, but lord this, or lady that, and the nonveaux riches prefer the 
 comfort of pleasant well-furnished rooms when sitting for their portraits, 
 and this Raeburn was now able to give. He made noble use of the fortune 
 that came with his marriage. It spurred him to high endeavour, brought 
 out the best qualities of his independent nature and enabled him to 
 concentrate them in producing great portraits of great people. The early 
 years of his married life must have been an ideal period for him both as a 
 man and an artist. A perfect wife, splendid health, many friends and 
 numerous commissions were his. What more could mortal desire ? 
 Ambition ! That also inspired his heart and brain. Rome with its glorious 
 traditions, its masterpieces, was ever in his mind. But with the caution of 
 his race he waited until he was absolutely certain of himself, sure that 
 nothing but the greatest art could influence him. Of the work actually 
 achieved before he left for the Eternal City little is definitely known. 
 
There are no dates on his portraits of that time to relieve the doubt. The 
 " Chahners of Pittencrieff " is the one canvas about which there is absolute 
 certainty. It was painted in 1776, and shows an elderly man sitting in a 
 chair by a window through which is seen a ruined abbey. The lighting of 
 the figure is somewhat arbitrary. No light from the window touches the 
 head, body or legs. The illumination comes from the opposite direction. 
 This is a dangerous experiment, which was frequently employed by Raeburn 
 in after days. In the " Mrs. Ferguson of Raith and children" (1780-81) a 
 similar method of lighting is repeated. The mother and her boy and girl 
 placed in a landscape, form a harmony hmited to brown and white. 
 "William Ferguson and his third son," " Major Buchanan" and " Robert 
 Dundas of Arniston," are also accepted by some critics as having been 
 painted before the Roman visit. Mr. James L. Caw, however, ascribes the 
 Dundas picture to 1787, the year of the judge's death and of Raeburn's 
 return to Edinburgh. These early works are chiefly remarkable for clear 
 vision and direct painting, the precise well-considered touch that was to 
 develop with such force and express character in bold deft masses of light 
 and shade. There was yet little attempt at subtle modelling or at blocking 
 out the planes of the face with almost sculptural relief. The colour is thin 
 in substance and quality, the surface flat and void of artistic interest as 
 might have been expected from one who had but recently, perhaps, still 
 was working on the small space of a miniature. Their merit however, 
 appealed to Sir Joshua Reynolds if we are to believe Cunningham. When 
 in 1785 Raeburn and his wife stopped at London on their way to Rome, the 
 Scot showed some of his portraits to Sir Joshua which at once won his 
 favour. Raeburn " ever afterwards," says the biographer, mentioned the 
 name of Sir Joshua with much respect — related how he counselled him to 
 study at Rome, and worship Michael Angelo in the Sistine Chapel ; and 
 how he took him aside, as they were about to separate, and whispered, 
 "young man I know nothing about your circumstances; young painters 
 are seldom rich ; but if money be necessary for your studies abroad, say so, 
 and you shall not want it." This generous offer Raeburn declined with 
 due thanks. If this story is true it, to some extent, absolves Sir Joshua 
 from the charge of parsimony and avarice that Cunningham elsewhere 
 allows to pass without much enquiry or dismissal. It would be futile to 
 discuss the Englishman's attitude to Raeburn on the strength of Allan's 
 tale. We may be sure Sir Joshua was kind to Raeburn and would give 
 him good advice. It is even quite probable that the great man allowed the 
 young artist to work for some time in his studio. But of that there is no 
 record. All we are sure of is that Reynolds and Raeburn met in London, 
 and that the future work of the younger man betrays no sign of Sir Joshua's 
 artistic influence. Of his residence and labour in Rome there is not more 
 evidence. Goethe was in Rome at the time of Raeburn's visit, but if they 
 ever met — it is quite possible they did — no reference to the fact was made 
 by either the poet or the painter, although the former in his " letters from 
 Italy " praises the mock-classic work of Raeburn's compatriot, Jacob More. 
 Gavin Hamilton was another Scoto-Roman artist who had considerable 
 vogue in the Eternal City. We are told he lived in grand style, 
 "maintaining much of the dignity and state of the great old Italian masters," 
 and that he helped to decorate Prince Borghese's villa. Raeburn made 
 
his acquaintance, but Hamilton's feeble art was of little value to the young 
 student. Far greater service was rendered to Raeburn by James Byres, 
 of Tonley, who advised him never to paint anything without having the 
 object in front of him. Byres who was a man of strong character and 
 refined taste, served as an officer in Lord Ogilvies regiment in the French 
 army. In Rome he was known as the Cicerone, and Sir Walter Armstrong 
 says, " his chief title to fame is the fact that he was once the owner of the 
 Portland vase." But he had another and greater distinction. He inspired 
 Raeburn to paint one of his greatest portraits of age — the "James Byres 
 of Tonley," shown at the Raeburn exhibition in the French Gallery last 
 winter. 
 
 We are entirely in the dark as to the nature of Raeburn's studies 
 during his eighteen months stay in Rome. That he was not idle may be 
 granted. Yet save for one portrait which I saw at the French Gallery 
 some time ago, there is nothing I can point to as having been achieved in 
 Rome. The picture in question was a likeness of a fresh looking lady of 
 about forty, wearing a blue dress with a black shawl round her shoulders, 
 one end of it thrown over her head. In my opinion this may be a portrait 
 of Mrs. Raeburn painted in Rome in the style of Largilliere. The face has 
 a resemblance to the face in Sir Ernest Cassel's picture of her, already 
 referred to, and the colour of the flesh, and flat, shadowless treatment 
 recall the " Mrs. Ferguson and her children," which has, however, greater 
 vivacity. The dress and general arrangement do not suggest Raeburn. They 
 are essentially French, and the only probable explanation of this curious 
 pastiche is, that Raeburn may have visited the French Academy at Rome, 
 and been impressed by some work there, and painted the canvas in question 
 as a souvenir of his wife's visit to Rome, and the temporary influence of 
 LargiUiere. Of course, this is conjecture, but I feel certain that the face 
 is unmistakably by Raeburn, and in no other portrait of his that I know 
 are there similar costume, arrangement and colour. This hypothesis is the 
 only new thing to be added to previous accounts of his sojourn in Rome, 
 which ended in 1787. 
 
LORD NEWTON 
 
 [Photo Annan 
 
CHAPTER III. 
 
 Portraits of Burns and Scott. 
 
 On his return to Edinburgh, Raeburn's old friends gave him a hearty 
 welcome, and were anxious to know how he had fared in Rome ; what 
 influence the art and hfe of the Eternal City had exercised in the 
 development of his talent. We have already seen what his former master 
 David Martin is said to have thought in this respect. The opinion given 
 to him by Cunningham mattered little then and less now, for Martin's 
 contemporaries forsook him and crowded to Raeburn's newly opened studio 
 in George Street and we know that he did paint better after he came back 
 from Rome. In George Street and neighbourhood, when Raeburn settled 
 there in his thirty-first year, were the houses of the most eminent men of 
 his time. The Old Town had been almost abandoned as the residence of 
 the "big folk "of the Scottish capital. Some of the more conservative, 
 whose older blood was slower to respond to the impulse of the newer life, 
 lingered in the lofty houses and brightened the clubs and dingy closes with 
 their wit and laughter and rich hued costumes. 
 
 Raeburn's removal to George Street corresponds with the date of the 
 first Edinburgh edition of Burn's Poems. It was in the vicinity of George 
 Street, in St. James' Square, behind what is now the Royal Bank, that the 
 poet for a time lodged with William Cruikshank. He made many errands 
 from there to 5 George Street, the premises of Creech, in order to induce 
 the bookseller to come to a definite settlement about the payment for the 
 second edition of the " Poems." It was while staying in St. James' Square 
 that Burns "spied" Clarinda, who had been deserted by her husband 
 James M'Lehose. The long intimacy and inflated correspondence between 
 the poet and this lady are well-known; their final severance by the marriage 
 of Burns, produced one of his finest lyrics — "Ae fond kiss and then we 
 sever." In Edinburgh Burns made the friendship of many of the men 
 immortalised by Raeburn. He was introduced to Henry Erskine at a 
 masonic meeting, Henry Mackenzie the "man of feehng " wrote a very 
 eulogistic notice of his poems in the " Lounger," he was received by Robert 
 Blair, Professor Gregory, Eraser Tytler and Adam Ferguson. It was at 
 Ferguson's house that Walter Scott, then a lad of sixteen, brought thither 
 by Dugald Stewart, saw Burns and he afterwards spoke of the poet's 
 "dignified plainness and simphcity " of his eyes which "literally glowed." 
 " I never saw such another eye in any human head," said Scott. It seems 
 incredible that Burns and Raeburn never met. 
 
 But evidently they never shook each other by the hand, nor did 
 Raeburn ever see the eloquent eyes, the great personality that carried the 
 Duchess of Gordon " off her feet." Why they never met we cannot explain. 
 It must be remembered, however, that when Burns first went to Edinburgh 
 in November, 1786, Raeburn was in Rome, and about the time when the 
 painter was settling in his George Street studio, the poet was touring in 
 the north. Yet the pair must have been living near to each other in 
 
Edinburgh for a considerable period ; the same people were their friends 
 and surely Raeburn would be eager to paint the expressive face of Burns. 
 But one thing is certain. Raeburn never painted a portrait of Burns from 
 life as some people have thought. Of this statement there is ample proof 
 in a series of letters from Raeburn to Cadell and Davies, the London 
 publishers, which is now the property of Mr. C. Fairfax Murray. Alexander 
 Nasmyth painted three portraits of Burns. The original is in the National 
 Portrait Gallery of Scotland. The one painted for George Thomson is in 
 the National Portrait Gallery, where it is catalogued as having been 
 painted by Nasmyth and retouched by Raeburn. But there is no authority 
 for this statement. 
 
 Here are the letters referred to and they seem fully to prove that 
 Burns and Raeburn never met : — 
 
 0) 
 
 Henry Raeburn to Cadell and Davies. 
 
 Edinburgh, I4th, November, 180.3. 
 Gentlemen, 
 
 According to your order transmitted to me by Mr. Cunningham, 1 have finished a 
 copy of Burns the poet, from the original portrait painted by IVIr. Nasmyth. I have 
 shown it to Mr. Cunningham, who thinks it very like him, and I hope it will also meet 
 with your approbation. I am ready to send it whenever you please to order me. 
 
 Smacks leave this for London twice a week. I have frequently sent pictures by that 
 mode of conveyance, and they always went safe. 
 
 I am, Gentlemen, 
 
 Your most obedient Servant, 
 
 (Signed) HENRY RAEBURN. 
 
 (2) 
 
 York Place, Edinburgh, 
 
 \st, December, 1803. 
 Gentlemen, 
 
 I enclose you a receipt for a case containing Burns's portrait, and I have no doubt 
 you will get it soon and safe ; and I flatter myself with the hope of its meeting with 
 your approbation, than which, I assure you, nothing will give me more pleasure. 
 
 I have twenty guineas for a portrait the size of Burns. 1 do not wish you to remit 
 the money to me, for, as I have money to pay in London, I shall, after receiving your 
 permission, draw upon you for the amount. 
 
 I am, with much respect. Gentlemen, 
 
 Your most obedient Servant, 
 
 (Signed) HENRY RAEBURN. 
 
 (3) 
 
 Edinburgh, 22tid, February, 1804. 
 Gentlemen, 
 
 Nothing could be more gratifying to me than the approbation you expressed of the 
 copy I made for you of Robert Burns. 
 
 I hope you will be equally pleased with the portrait I now send you by the orders of 
 Mr. Henry MacKenzie. It is shipped on board the " Glasgow," William Liburn, master, 
 and I have no doubt you will receive it safe. 
 
 I am, respectfully, Gentlemen, 
 
 Your most obedient Servant, 
 
 (Signed) HENRY RAEBURN. 
 
 When Burns was in Edinburgh, Sir Walter Scott was a boy of fifteen 
 or sixteen, and, though it is not recorded in Lockhart's " Life,"'Raeburn it 
 appears painted Scott's portrait about this time. Mr. W. Roberts in an 
 
article on the " Portraits of Sir Walter Scott " in Chambers' Journal last 
 January, refers to the subject : — 
 
 I' As Sir Henry Raeburn was fifteen years older than Scott, it is quite 
 possible that he may have painted the latter ' as a youth ' ; but there is no 
 record of this in Lockhart, and any such portrait must be accepted with 
 reservation. There is, however, such a portrait in existence ; it was in the 
 W. Russell sale of 1863, and was bought in at three pounds five shillings, 
 for it reappeared in the same collector's sale in 1884, when it advanced to 
 one hundred and fifty guineas ; and once more in Lord Tweedmouth's sale, 
 June 3rd, 1905, when it brought one thousand guineas. In the catalogue it 
 is stated to have been formerly in the possession of the poet Campbell. 
 This portrait (29 in. by 24 in.) shows Scott as a young man in brown coat, 
 with pink vest and white stock. In a sale held on May 8th, 1897, there 
 was another portrait by Raeburn of Scott 'when a boy in Highland 
 costume ' (30 in. by 28 in.), which realised one hundred and fifteen guineas." 
 The Tweedmouth portrait which was certainly by Raeburn, had a strong 
 resemblance to Scott ; the Highland costume portrait I never saw. 
 
 The properly authentic portraits of Scott by Raeburn may here be 
 considered, though they take us a long way out of a chronological record of 
 the artist's work. In Mr. James L. Caw's list he gives six portraits. 
 These are the Tweedmouth portrait, the Buccleugh, the Maxwell Scott, the 
 Earl of Howe, the Arthur Sanderson and the replica which belonged to the 
 late Baroness Burdett Coutts. The Buccleugh portrait was painted in 
 1 808 for Constable, the publisher. Scott is shown at full length seated on 
 a ruined wall with his English bull-terrier "Camp" at his feet. In the 
 distance are Hermitage Castle and the Liddesdale hills. He is dressed in 
 black and wears Hessian boots. It will be recalled that on the day of 
 "Camp's" death Sir Walter wrote that he could not dine out because 
 " a very dear friend" had died. This " noble portrait " as Lockhart calls 
 it also won praise from Dr. John Brown who asks if there was ever " a 
 more poetic portrait of a poet." Further testimony to the truth of the 
 likeness is afforded by Mr. J. B. S. Morritt, of Rokeby Hall, where the 
 discredited "Venus " came from. Scott was a great friend of Morritt, and 
 frequently visited the latter at his English home. "His person" says 
 Morritt, " at the time may be exactly known from Raeburn's picture, which 
 had just been executed for his bookseller, Constable, and which was a most 
 faithful likeness of him and his dog ' Camp.' The literal fidelity of the 
 portraiture, however, is its principal merit. The expression is serious and 
 contemplative, very unlike the hilarity and vivacity, then habitual to his 
 speaking face, but quite true to what it was in absence of such excitement. 
 His features struck me at first as commonplace and heavy, but they were 
 almost always lighted up by the flashes of the mind within." 
 
 On the 12th January, 1809, Scott wrote to the Constables, expressing 
 a wish that the portrait should be his own, and that the expense of the 
 picture and any engraving of it should be borne by him. The portrait 
 was engraved by C. Turner, in 1810, and the following announcement 
 of the projected mezzotint appeared in the Gentlemen's Magazine, 
 December, 1809. 
 
 " Mr. Cromek will shortly publish a whole length portrait of Sir Walter Scott, from the 
 admired picture painted by Raeburn, for Constable of Edinburgh, which appeared in 
 the last exhibition of Scottish paintings. The Print will be 20x24." 
 
This note shows that the portrait was exhibited a second time — it 
 appeared in the Royal Academy, in 1810. 
 
 In 1809, Raeburn again painted a full length portrait of Scott, which 
 has a curious history. Mr. David Douglas, editor and publisher of that 
 most noble and pathetic of all human documents, Scott's Journal, says 
 that at the time of Scott's NoveHst's financial troubles, the picture was 
 placed in the keeping of Mr. James Skene, of Rubislaw. " Mr. Skene tells 
 us," writes Mr. D. Douglas, "that when No. 39 Castle Street, was 
 displenished in 1826, Scott sent him the full-length portrait of himself by 
 Raeburn, now at Abbotsford, saying that he did not hesitate to claim his 
 protection for the picture, which was threatened to be paraded under the 
 hammer of the auctioneer, and he felt that Skene's interposition to turn 
 aside that buffet, might admit of being justified." In a letter dated, 
 Abbotsford, the 1 6th January, 1831, Scott asks Skene to have the portrait 
 copied, and to send the copy to Abbotsford. In accordance with this 
 wish made when Scott's health began to fail, Skene had " an absolute 
 facsimile " of it painted, which he kept to himself, he sending the original 
 to Scott. 
 
 Scott's opinion of Raeburn's portraits appears to have varied. About 
 April, 1819, the Duke of Buccleugh wrote to Sir Walter saying, "my 
 prodigious undertaking of a west wing at Bowhill is begun. A library of 
 forty-one feet by twenty-one, is to be added to the present drawing-room. 
 A space for one picture is reserved over the fireplace, and in this warm 
 situation I intend to place the Guardian of Literature. I should be happy 
 to have my friend ' Maida ' appear. It is now almost proverbial 'Walter 
 Scott and his dog.' Raeburn should be warned that I am as well acquainted 
 with my friend's hands and arms as with his nose — and Vandyck was of my 
 opinion. Many of R's. works are shamefully finished — the face studied, but 
 everything else neglected. This is a fair opportunity of producing something 
 really worthy of his skill." 
 
 To this uncompromising and curious criticism, Scott replied from 
 Abbotsford, on the 15th of April, 1819. He said he would be proud and 
 happy to sit but, " I hesitate a little about Raeburn, unless your Grace is 
 quite determined. He has very much to do ; works just now chiefly for 
 cash, poor fellow, as he can have but a few years to make money ; and has 
 twice already made a very chowder-headed person of me. I should like 
 much (always with your approbation) to try Allan, who is a man of real 
 genius, and has made one or two glorious portraits, though his predilection 
 is to the historical branch of art." 
 
 This is a strange letter to come from Sir Walter Scott. The 
 suggestion of greed on the part of Raeburn is unfair, as we know that he 
 was most generous. He, like Scott himself, lost his entire fortune as we 
 shall see later. It is also unjust to hint that Raeburn was producing 
 mere "pot boilers" at this period. Some of his best works were painted 
 about 1819. That Scott's idea of art was meagre, is shown by his 
 preference for Sir William Allan, the historical painter. This projected 
 portrait was apparently never painted, and as we have seen the Duke had 
 to wait until the Ballantyne failure, which involved Scott to the extent of 
 £130,000, when he secured the " chowder-headed " Constable portrait which 
 now hangs at Bowhill. 
 
[Photo Annan 
 
 MRS. JAMES CAMPBELL 
 
CHAPTER IV. 
 
 Development and Method. 
 
 Raeburn's art shows no very distinctive periods. His study in Rome 
 brought him in touch w^ith the work of the Continental schools but on his 
 retura to Edinburgh in 1787 there was little or no evidence of foreign 
 infli- ace 
 
 His knowledge of structure was greater, his hand more certain, and 
 the problems of light and shade, as suggested perhaps, by the Bolognese 
 painters added interest to his essays. In sho- l he came back from the 
 Eternal City the best equipped artist in Scotind of that time, and his 
 merits were soon recognised and appreciated. Before long all Edinburgh 
 was eager to be immortalised by the virile brush of the young artist. His 
 introduction to the public came, it appears through a commission from the 
 Harveian Society to paint a portrait of William Inglis, one of its original 
 members who was noted as " the chief restorer of the Ludi Apollinaris at 
 Edinburgh, games annually celebrated on the links of Leith, at which 
 there is an admirable combination of healthful exercise and social mirth." 
 
 This portrait was followed by another of the society's President, 
 Alexander Wood, and about this time came the likeness of Professor Andrew 
 Duncan, already mentioned as an early patron. This work is the property 
 of the Royal Medical Society, and some thirty years later he produced a 
 second portrait of Dr. Duncan for the Royal College of Surgeons. Other 
 early works are the portraits of " Lord President Dundas," " Principal Hill 
 of St. Andrews," and "John Clerk," his friend of the " Herrin' " legend, 
 and afterwards Lord Eldin, of whom he painted a superb image with a 
 "Crouching Venus " set on the table. 
 
 It is not till we come to the portraits of "William Ferguson or Kilrie," 
 as a boy, and the " Sir John and Lady Clerk," recently acquired by Mr. 
 Otto Beit, that any marked change is found in his method. His colour is 
 more assertive, sometimes to garishness, and the handling is surer and 
 more fluent. But it is in the distribution of light and shade that we see any 
 real development. He is no longer content with ordinary studio Hghting. 
 Light for its own sake is introduced, though it in no way deprives the 
 subjects of their importance. It not only enhances the'pictorial effect but 
 it brings out in more striking fashion the characteristic features of his 
 sitters. The " William Ferguson " is one of Raeburn's most charming 
 pictures of boyhood. How beautifully the light falling over the right 
 shoulder models the soft round cheek and the fine clear cut nose ; and 
 follows the neglig^ lines of the white shirt front which shows the full grace 
 of the well-formed neck. The wistful eyes, the parted lips and the natural 
 poise of the aristocratic head represents Raeburn's genius in its most 
 sympathetic mood. 
 
 The "John Clerk and his wife." if less tenderly alluring, is of nobler 
 aspect, and has a certain pathetic mterest. Husband and wife, no longer 
 young, stand in a landscape ; he pointing to some place or object in the 
 
distance, perhaps recalling some early joy when the fires of life still burned 
 ardently in their hearts. But the sentimental side of the subject need not 
 be discussed. It is the artistic difficulties so admirably overcome that 
 demand attention. The light comes from the left behind the figures, 
 catching the side of the lady's face and her white muslin dress, and outlining 
 Sir John's shoulder, arm and his body on the right. His face is in shadow, 
 but the light refracted from his wife's dress plays with great subtlety over 
 the planes. This happy conception is carried out with masterly ingenuity. 
 These pictures which date before 1790, were followed by two others 
 "Master Hay," and " Raeburn's Son on Horseback" 1796, which present 
 similar effects of lighting. Both were exhibited at the French Gallery, 
 Pall Mall, last year and won high praise. The "Master Hay" has 
 considerable charm and the poise of the boy in the second canvas is 
 unaffected and natural. But the lighting is somewhat theatrical. 
 
 Other Ferguson portraits are those of "Sir Ronald and Robert 
 Ferguson practising Archery," a very winsome picture which shows a brief 
 spell of rest in the artist's technical development, though there is a certain 
 pleasing motive in its design. Two years later in 1791, came the " General 
 Sir Ronald Ferguson " in sportsman's costume. Here, if the arrangement 
 is somewhat conventional we find more expressive modelling, a more 
 generous brush applied with greater ease. In 1795 the same gentleman 
 figures in an equestrian portrait in which are noticed an absence of sharply 
 divided masses of light and shade. Roundness is secured by subtle 
 gradation of light, the just appreciation of values. 
 
 But the picture that marked in the highest degree Raeburn's progress 
 in Iiis early period is the "Dr. Nathaniel Spens " painted in 1791 for the 
 Royal Archers Company, Edinburgh. This is a work of extraordinary 
 insight and skill. Here his perceptive faculties are employed with amazing 
 precision and graphic expression. The keen eager eyes directing the arrow 
 to its flight ; the firm mouth, purposeful nose and chin are presented with a 
 power hitherto unknown in Scottish art. The whole body of the archer 
 suggests force, nervous tension. How masterly the light is manoeuvred. 
 From the starting mass of white waistcoat it moves over the white beKs 
 with their silver mountings, touches the gloved hands and the feather of 
 the arrow, throws the shadow of bow-string on the ruddy face and passes 
 to rest amid the half tones of the sky beyond the autumn trees. No wonder 
 that this work created something like a sensation when it was exhibited in 
 ButUngton House in 1875. Up to that date Raeburn was little more than 
 a r me classed in " The School of Lawrence " — the irony of it ! 
 
 About five years after the " Spens," came an even finer achievement — 
 the famous portrait of Sir John Sinclair of Ulbster. In this magnificent 
 canvas are concentrated the spirit, and character of the Highlands and the 
 Highlanders. The forceful face, the strong erect figure, clad in the 
 swaggering costume of boisterous hues, b4ng to mind visions of stir- 
 ring days, great victories and noble defeats. Some critics prefer the 
 quieter dignity of the "Spens," but as a display of executive skill, the 
 " Sinclair " is Raeburn's chef d'oeuvre and indeed, stands unrivalled in British 
 art in its fearless and brilliant brush work. The " Macnab " painted about 
 the same time has similar quahties and it is said that Sir Thomas Lawrence 
 characterised it as the best representation of a human being he had ever 
 
seen. This dour-faced laird, dressed in the Highland costume of the 
 Breadalbane Fencibles makes a splendid defiant figure set in a mountain 
 landscape. It is now at the Rome International Exhibition. 
 
 I may here refer to a fourth important portrait of a Highlander 
 " Colonel Alastair Macdonall of Glengarry " though it was painted long after 
 the others; about 1812. This canvas when I saw it last December was 
 placed too high in the Scottish National Gallery for a proper examination 
 of its qualities which seemed to be somewhat obscured by a dull haze spread 
 over the surface. Cleaning or revarnishing would perhaps remove the 
 opacity. In his volume on the "Scottish School of Painting" Mr. W. D. 
 McKay speaks very highly of this portrait. He considers it to be freer 
 from some of Raeburn's mannerisms "notably those which arise from the 
 constant use of a very high light." The sidelight and the nature of the 
 background suggests to Mr. McKay that the picture was painted in the 
 chieftain's own hall at Invergarry. In this surmise he is apparently correct, 
 for the owner of the picture — Mr. J. Cunninghame of Balgourie — says that 
 the shield hanging on the wall in the background is among the Glengarry 
 guns, arms, etc., in his possession. Further he writes : " From enquiries 
 I have made of relations, I am quite convinced that the painting was done 
 at the chief's own house." Mr. Cunninghame also clears up the doubt 
 about the date of the picture which was stated to be 1800 in the catalogue 
 of the Raeburn Exhibition of 1876. 
 
 Glengarry was born in 1774, however, and the pfcture shows a man of 
 more years than twenty-six, so I may conclude that the picture was 
 produced about 1812, the year of its exhibition in London. Mr. McKay 
 says of the canvas that " there may not be such palpable feats of brushwork 
 as characterise the painting of those earlier portraits, but surely there is a 
 strength in its reticence which goes beyond either." The picture certainly 
 is suave and dignified in poise, while there is solidity in its less resourceful 
 handling, but it has not the allure of the impetuous craftsmanship of the 
 " Sinclair " or the " Alacnab." 
 
 The Pre-Roman "Mrs. Ferguson and children," the " Spens," 
 "Sinclair" and the " Macnab " have a landscape setting as have many of 
 his later portraits. Morrison reports the following conversation between 
 Scott and Raeburn, on the question of backgrounds. 
 
 " I wish," said Sir Walter, "that you would let us have a little more 
 finishing in the backgrounds. Sir Thomas Lawrence, I understand, employs 
 a landscape painter." 
 
 "Of that I do not approve," replied Raeburn. "Landscape in the 
 background of a portrait ought to be nothing more than the shadow of a 
 landscape : effect is all that is wanted. Nothing ought to divert the eye 
 from the main object — the face ; and it oiight to be something in the style 
 of Milton's ' Death ' :— 
 
 The other shape — 
 If shape it might be called that shape had none 
 Distinguishable in member, joint or limb, 
 Or substance might be call'd that shadow seem'd 
 
 For each seem'd either." 
 
 " I am at present painting an Admiral and had some thought of asking 
 my friend, the Minister of Duddingston, to paint me the sea ; but, on second 
 
thoughts, I am afraid that Mr. Thomson's sea might put my part of the 
 picture in the shade." 
 
 The convention of the period demanded landscape backgrounds for 
 portraits. The scenic setting appealed to the vanity or supposed taste of 
 sitters and it is said that Raeburn adopted the prevailing fashion at the 
 request of his clients and the critics, the latter objecting to his azure 
 backgrounds says Cunningham. One member of the Royal Academy wrote 
 to Raeburn: "I congratulate you on the great improvement which you 
 have made in your backgrounds . . . your pictures are now altogether 
 beautiful. There is no beautiful head and finely executed figure ruined by 
 a systematic background ; everything is in harmony, and your subject has 
 fair play . . . I beg you to pardon this forwardness ; I have ever felt a 
 great interest in your reputation, and been much mortified when, year after 
 year, you persisted in a manner that was so disadvantageous to your fame. 
 Pursue your present plan, and your immortality is certain." 
 
 Raeburn may have changed his backgrounds at the request of his 
 friends on certain occasions, but, I am inclined to think that his 
 backgrounds were chosen according to the character of the subject. What 
 better settings could be imagined for a " Sinclair " or a " Macnab " than the 
 mountain landscape that throws out their imposing figures and repeats the 
 gorgeous hues of their costume. 
 
 Of course in many cases his landscape backgrounds, like those of 
 Reynolds, were flimsy and artificial, and as R. A. M. Stevenson says 
 Raeburn's style " was incompatible with pretty elegance, spotty colouring, 
 and theatrical disposition of the canvas. It went best with the solemn, 
 natural simplicity of Velasquez, the Dutchman and the Flemings." Yet all 
 on occasion used landscape backgrounds. 
 
 Between the " Spens " and "Sinclair," came the portrait of "James 
 Balfour" (Singing Jamie), executed for the Golfer's Hall, Leith. He is 
 represented in the act of singing his favourite ditty, " When I hae a 
 saxpence under my thoom." Dr. John Brown tells an interesting story of 
 the picture's history. "You hear the refrain — 'Toddlin' hame, toddlin' 
 hame ; Round as a neep (turnip), she cam' toddlin' hame.' Mr. Melville, of 
 Hanley, with whom have perished so many of the best Edinburgh stories, 
 used to tell how he got this picture, which for many years hung and sang in 
 his hospitable dining-room. It was bought at the selling-off of the effects 
 of the old Leith Golf-house, by a drunken caddie for 30/-. Mr. Melville 
 heard of this, went to the ancient creature, and got it for 40/- and two 
 bottles of whisky. James Stewart, of Dunearn, offered him (Mr. Melville) 
 £80, and two pipes of wine for it, but in vain. Sir David Wilkie coveted it 
 also, and promised to pay for it by a picture of his own, but died before this 
 was fulfilled." 
 
 Another portrait of this period is the " Mrs. Barbara Murchison," 
 painted in 1793. This picture, once the property of Mr. R. F. Murchison, 
 was bought by Messrs. Colnaghi and Co., at Christie's, in 1903, and is now 
 in the splendid art gallery at Budapest, whose director Dr. Gabriel de Terry 
 is to be congratulated on securing an example so characteristic of Raeburn's 
 art. Dr. de Terry's opinion of the picture printed along with a reproduction 
 of the portrait in the Burlington Magazine, Vol. XII., page 250, may be 
 quoted. 
 
 XJOliii. 
 
"The young woman," he says, "represented ahiiost full face, has 
 something so motherly in her ample, soft contours, that she attracts one 
 immediately. She has the languid, somewhat phlegmatic movement of a 
 woman who is rather fully developed for her years, and who knows very 
 well that this healthy embonpoint becomes her. She sits calmly gazing 
 contemplatively from her beautiful dark eyes ; on her high white forehead 
 curl the locks of her rich brown hair. Her gently-rounded cheeks, her full 
 hps, her white neck and plump arms, so enchantingly modelled all speak of 
 youth, the height of summer and harvest time. She is dressed all in white, 
 in that short-waisted costume which is artistically so attractive, and has a 
 permanent value above all other fashions. The picture is broadly and freely 
 painted, especially the landscape background." 
 
 This eulogy is well-deserved. There is no better Raeburn in any 
 Continental gallery. The artist himself was pleased with the picture as will 
 be seen by the following letter : — 
 
 Dear Sir, 
 
 I have this day sent Mrs. Murchison's portrait carefully packed up on board the 
 "Three Friends," now directed to the care of Mr. Inglis, Inverness. I hope you will 
 receive it safe. Inclosed you have the ship-master's receipt. 
 
 I took particular pains in finishing Mrs. Murchison's picture, and flatter myself it 
 will meet with your approbation. Mr. Liddell, the frame-maker, says that besides this 
 one there is a small oval frame due, that went about your picture which I had reduced 
 and altered, I mean the picture which was painted by Mr. Battoni — and which was 
 sent to some lady in town here. 
 
 I hope you will forgive me for having been so long in finishing this picture. I assure 
 you it did not proceed from neglect, the truth is I could not get it overtaken. I have 
 been much pressed for pictures which have been still longer in the house than yours, 
 and even now, yours is finished before the turn. 
 
 I had the pleasure some time ago of seeing an addition to your family announced in 
 the papers, I did in my own mind congratulate you upon it. 
 
 I hope Mrs. Murchison is well, may I beg you would make my most respectful compts. 
 to her, and that you would believe me with best wishes, and much respect. 
 
 My dear Sir, 
 
 Yours most obedt. servant, 
 
 HENRY RAEBURN. 
 Edin., 18i/} May, 1793. 
 To Kenneth Murchison, Esqr. 
 of Parradale by 
 Inverness. 
 
 Among other portraits painted before the end of the century, are the 
 beautiful " Mrs. Campbell of Ballimore," in the National Gallery of Scotland, 
 the " Mrs. Newbigging," recently shown at Messrs. Agnew's Galleries ; 
 the splendid " Captain David Burret," " Lady Stewart of Coltness," 
 " Admiral Lord Duncan " (1798), " Professor Robinson " (c. 1798), and the 
 "Macdonald of Clanronald " (c. 1800). "John Tait and grandchild" is 
 generally believed to be the work of 1798, or 1799, but a letter which 
 appears in Miss Emily Robertson's volume, on the correspondence of her 
 father, Andrew Robertson, the miniaturist, proves this date to be wrong. 
 Her father, a native of Aberdeen, went to Edinburgh at the age of sixteen 
 to study under Nasmyth, but " being very desirous of seeing Raeburn's 
 pictures," he bravely knocked at his door, " armed with a shilling for his 
 servant." Raeburn received the youth with much kindness, and when he 
 had learned that Andrew wished to copy some of his portraits he prepared 
 a small studio for him. 
 
" The first picture I copied," says Robertson, " was an old gentleman, 
 a half length of Mr. John Tait, advocate, with a blazing warm sky on one 
 side, close to the head, which I thought injured the effect. I never dreamed 
 there was any harm in altering it, and lowering the tone. Raeburn stared 
 at my copy and frowned, then at me and smiled, saying, ' I see you have 
 improved upon my composition.' ' Yes, I think it is an improvement ; don't 
 you think it is ? ' He then laughed heartily at my simplicity, and asked me 
 to dine with his family next day at his picturesque and delightful villa at 
 Stockbridge, but he never forgot the joke of my altering his composition. 
 Some years after, I saw the picture again and found that he had adopted 
 my alteration. This enabled me to turn the joke against him, but he said 
 he ' did so, merely to oblige me.' " This epistle gives a delightful glimpse 
 of the great painter, and the incident it describes happened in 1793, three 
 years before the child in the picture was born, thus proving that his portrait 
 was introduced about 1800. A matter of considerable interest is the 
 discovery of Robertson's miniature of the picture in its original condition. 
 Mr. Dudley Heath, in an article in the Connoisseur, says, that the miniature 
 was the property of a lady in Sussex, who sold it with some sketches, and 
 other miniatures to a Brighton dealer, from whom it passed to the collection 
 of Mr. Lionel Moseley. On the back of the miniature is inscribed in 
 Robertson's handwriting: "John Tait, Esq., Edinburgh, a copy after 
 Raeburn ; before I came to London." The figure of Tait in the miniature, 
 is identical with the original, save that the right arm is lowered, and the 
 hand holds a large hat, and of course the child is absent. A curious thing 
 is noticed in the altered picture — the old man has two right hands, 
 Raeburn, without thinking, having turned the left hand into a right hand. 
 
 We have now followed Raeburn's progress for thirteen years, that is, 
 since his return from Rome. After that event we have found his style 
 mature. It is characterised by greater care, analytical perception, more 
 generous application of pigment, and richer colour. Problems of lighting 
 have also been successfully solved, but not generally adopted, chiefly, no 
 doubt because sitters did not care to have their favourite features perhaps 
 lost in obscurity. Now and again he went back to the broader, less 
 searching modelling of his pre-Roman days, but his instinct for essentials 
 is keener, his eye more certain, his hand readier to execute with full brush 
 and fluent touches, portraits like the beautiful " Mrs. Campbell of Ballimore," 
 and the wonderful "Professor Robison " (c. 1798). Of the latter, 
 Dr. John Brown says, " Did you ever see a dressing-gown so glorified ? 
 and the night cap, and the look of steady speculation in the eyes — a 
 philosopher all over." In the later work of his life, from 1800 to his death 
 in 1823, we shall find a steady development, greater appreciation of form, 
 more incisive drawing, subtler modelling, tenderer colour, and a more 
 expressive distribution of light and shade. But in all cases he adapted his 
 methods to suit the character and temperament of his sitters. 
 
 By 1785 increased practice made it necessary for him to move to a 
 larger studio, but as he could not secure anything suitable he built one for 
 himself in York Place. Cunningham tells us that the painting rooms were 
 on the street floor above the area ; the first floor was a spacious gallery 
 lighted from the top, measuring fifcy-five feet long, thirty-five feet wide, 
 and forty feet high. Raeburn's habits of work required considerable space, 
 
and this huge room gave him ample freedom of movement. Cunningham 
 gives an admirable description of the painter's technical methods and 
 manner of procedure. " The motions of the artist were as regular as those 
 of a clock. He rose at seven, during summer, took breakfast about eight 
 with his wife and children, walked into George Street, and was ready for a 
 sitter by nine ; and of sitters he generally had, for many years, not fewer 
 than three or four a day. To these he gave an hour and half each. He 
 seldom kept a sitter more than two hours, unless the person happened — 
 and that was often the case — to be gifted with more than common talents. 
 He then felt himself happy, and never failed to detain the party until the 
 arrival of a new sitter intimated that he must be gone. For a head size he 
 generally required four or five sittings; and he preferred painting the head 
 and hands to any other part of the body ; assigning as a reason that they 
 required less consideration. A fold of drapery, or the natural ease which 
 the casting of a mantle over Lhe shoulder demanded, occasioned him more 
 perplexing study than a head full of thought and imagination. Such was 
 the intuition with which he penetrated at once to the mind, that the first 
 sitting rarely came to a close without his having seized strongly on the 
 character and disposition of the individual. He never drew in his heads, 
 or indeed any part of the body, with chalk — a system practised by Sir 
 Thomas Lawrence — but began with the brush at once. The forehead, chin, 
 nose and mouth were his first touches. He always painted standing, and 
 never used a stick for resting his hand on ; for such was his accuracy of 
 eye, and steadiness of nerve, that he could introduce the most delicate of 
 touches, or the almost mechanical regularity of line, without aid, or other 
 contrivance than fair off-hand dexterity. He remained in his painting room 
 till a little after five o'clock, when he walked home, and dined at six. . . 
 From one who knew him in his youthful days, and sat to him when he rose 
 to fame, I have this description of his way of going to work. ' He spoke a 
 few words to me in his usual brief and kindly way — evidently to put me 
 into an agreeable mood ; and then having placed me in a chair on a 
 platform at the end of his painting-room, in the posture required, set up his 
 easel beside me with a canvas ready to receive the colour. When he saw 
 all was right, he took his palette and his brush, retreated back step by step, 
 with his face towards me, till he was nigh the other end of the room ; he 
 stood and studied for a minute more, then came up to the canvas, and, 
 without looking at me, wrought upon it with colour for some time. Having 
 done this he retreated in the same manner, studied my looks at that distance 
 for another minute, then came hastily up to the canvas and painted for a 
 few minutes more. . . I may add,' continues the story, 'that I found 
 him well-informed, with no professional pedantry about him ; indeed, no 
 one could have imagined him a painter until he took up the brush and 
 palette ; he conversed with me upon mechanics and shipbuildings, and if I 
 can depend upon my own imperfect judgment, he had studied ship- 
 architecture with great success. On one of the days of my sitting he had 
 to dine with me at the house of a mutual friend ; our hour was six, and you 
 know how punctual to time we in the north are ; he painted at my portrait 
 till within a quarter of an hour of the time, threw down his palette and 
 brushes, went into a little closet, and in five minutes sallied out to dinner in 
 a trim worthy of the first company. I sat six times, and two hours 
 
MRS. SCOTT MONCRIEFF 
 
 IPhoto Annan 
 
together.' " Dr. John Brown supplies a somewhat similar account of his 
 methods. " Like Sir Joshua," he says, " Raeburn placed his sitters on a 
 high platform, shortening the features, and giving a pigeon-hole view of the 
 nostrils. The notion is that people should be painted as if they were 
 hanging like pictures on the wall, a Newgate notion, but it was Sir Joshua's. 
 Raeburn and I have had good-humoured disputes about this." 
 
 Sir Walter Scott adds to the picture by declaring, " I never knew 
 Raeburn, I may say, till the painting of my last portrait. His conversation 
 was rich, and he told his story well. His manly stride backwards, as he 
 went to contemplate his work at a proper distance, and, when resolved on 
 the necessary point to be touched, his step forward was magnificent. I see 
 him, in my mind's eye, with his hand under his chin, contemplating his 
 picture ; which position always brought me in mind of a figure of Jupiter 
 which I have somewhere seen." At this point a hst of his colours may be 
 given as recorded by Alexander Fraser, R.S.A., in The Portfolio, 'His 
 palette was a simple one ; his colours were vermilion, raw sienna (but some- 
 times yellow ochre instead), Prussian blue, burnt sienna, ivory black, 
 crimson lake, white of course, and the medium he used was ' gumption,' 
 a composition of sugar of lead, mastic varnish, and linseed oil. The colours 
 were ground by a servant in his own house and put into small pots ready 
 for use." To this Mr. J. L. Caw adds " that his studio had a very high side 
 light, and that he painted on half-primed canvas with a definitely marked 
 twill." 
 
 I am able to supplement these statements with a letter, in which he 
 tells us where he bought his painting materials. 
 
 Edinburgh, IQth October, 1822. 
 Dear Sir, 
 
 I have according to your request ordered from Middleton, 81 St. Martin's Lane, 
 London — the gent with whom I deal — 16f cloth the same as I use, 4 oz. vermilion, and 
 2 lbs. flake white, which last I should imagine would not serve you long. I have 
 desired the case to be addressed — according to your instructions. . . 
 I sincerely wish you all success. 
 
 Believe me always, 
 
 My dear sir, 
 
 Most faithfully yours, 
 
 HENRY RAEBURN. 
 John Morrison, Esq., 
 Annan. 
 
 I have also discovered that this particular kind of canvas was woven at 
 Arbroath under the encouragement of the British Linen Bank which was 
 established to stimulate British Linen industry. 
 
CHAPTER V. 
 
 Important Letters. 
 
 The portrait of Professor Robison referred to in the last chapter, is 
 generally regarded as the culmination of Raeburn's summary, " square 
 touch " style, when the modelling of his faces was described in clear cut, 
 decisive patches without suavity or fusion. But in time subtlety crept into 
 his handling. It is not yet very evident in the " Lord Chief Baron 
 Montgomery," of 1801, nor in the vigorous presentment of " Rolland of 
 Gask," and the fine manly effigy of " Professor Wilson " (Christopher 
 North) (1805), in the National Portrait Gallery of Scotland. But 
 about 1808 came the masterly "Dr. Alexander Adam," now in the 
 National Gallery of Scotland. Adam who was dubbed the " Scottish 
 Arnold," was the much loved rector of the Royal high school of 
 Edinburgh, and among his pupils were Walter Scott, Jeffrey, 
 Brougham, and Cockburn. The portrait which was a commission from a 
 number of his scholars, shows Dr. Adams seated in gown and black dress, 
 his right hand extended, his face set in a curious kindly smile. The attitude 
 reminded Dr. John Brown of the story of the rector when on his death-bed. 
 Raising his hand, he said: " But it grows dark, boys; you may go." The 
 characterisation is remarkable ; the craftsmanship direct and without 
 swagger is entirely in harmony with the simple kindly " dominie." Almost 
 contemporary with this canvas is the extraordinary portrait of " Lord 
 Newton." "Full-blooded," says Dr. John Brown, " taurine with potential 
 vigour. His head is painted with a Rabelaisian richness ; you cannot but 
 believe, that when you look at the vast countenance, the tales of his feats in 
 thinking and in drinking, and in general capacity of body and mind." Lord 
 Newton was well named " the mighty." Raeburn's portrait fully warrants 
 the epithet. What a great head it is. Huge and rubicund, and blocked-out as 
 if from a mass of red sandstone. The knit brows, the heavy inquisitive eyes, 
 strong nose and firm mouth denote uncompromising will, the flabby flesh and 
 double chin, the "taurine" aspect created by high livmg. The handling is 
 masterly, the whole effect superb. Another splendid work of this period is 
 the portrait of "James Byres of Tonley," his friend of the Roman days who 
 advised Raeburn never to paint anything but what he saw. This picture 
 which was shown at the French Gallery last winter, forms a striking 
 contrast to the "Newton." The "Tonley" is distinguished by the 
 quahties of his finest work. There is a reverence in the touch, a tender 
 fusion of the tones, a roundness of modelling, absent in the impetuous 
 craftsmanship of the other canvas. The "Tonley" takes its place among 
 the great portraits of aged men — with those of Rembrandt and Hals. Here 
 is the noble pathos of one who has passed his sixtieth birthday suggested 
 with consummate art. How tenderly the grey hair silvers the fine head ; 
 the dark eyes are dulled, the lips have lost much of their force, but they 
 still have significance. 
 
We know from the following letter that this portrait was painted 
 about 1809. It was sent to Cadell and Davies, the firm to whose order 
 Raeburn painted a copy of Nasmyth's bust-portrait of Robert Burns. The 
 latter also proves that Raeburn contributed to the " British Gallery of 
 Contemporary Portraits, which was a series of 150 engravings of the 'most 
 eminent persons now living, or lately deceased in Great Britain and 
 Ireland. ' " This publication was issued in twenty-five numbers at 25/- each, 
 by Cadell and Davies, between 1809 and 1816. 
 
 To Messrs. Cadell and Davies, London. 
 
 Edinburgh, August 24th, 1809. 
 Gentlemen, 
 
 I am ashamed of not having acknowledged the receipt of your two first numbers of 
 your " British Gallery," etc. I have Mr. John Clerk, of Eldin, Mr. Henry Mackenzie, 
 and Mr. Byres, of Tonley, ready to send up to you. I know not if you are acquainted 
 with the last-mentioned gentleman ; he is a man of great general information, a 
 profound antiquary, and one of the best judges perhaps of everything connected with art 
 in Great Britain. He resided for upwards of thirty years in Rome, and is personally 
 known to almost all the nobility and wealthy people of England who have travelled 
 during that period. 
 
 These three I could send you immediately, but I have a portrait of the late Sir 
 William Forbes, of Pitsligo, if you wish it. He was a gentleman universally known 
 and respected in Scotland. I believe I could also get you a portrait of Dr. J. Hamilton, 
 senior, first physician to the Royal Infirmary, a gentleman very eminent in his profession, 
 and who has lately published a medical work that has done him great credit. On your 
 answer I shall send you a case containing the above in the meantime. I have a portrait 
 of our present Lord President Blair ; the proprietor, Mr. (Alexander) Maconochie, his 
 son-in-law, and one of your subscribers, is not unwilling that it should be engraved, 
 but does not like to part with the picture. I shall talk to him again about it. Mr. 
 Cromack (Cromek) lately sent off a portrait of Walter Scott. He means to publish a 
 print of him by itself. I believe you do not like any portrait of which there is already 
 a print, or from which it is intended there shall be a print, but if you wish to have 
 that, as I cannot see that your publication will injure the sale of his print, I suppose 
 he will have no objection to let you have it, or Mr. Constable, whose property it is. I 
 have a head of Dugald Stuart (Stewart) ; it is the property of Lord Woodhouselee. I 
 shall speak to him, and have no doubt he will let you have it ; but there was a print 
 lately done from it, and on that account you will perhaps not wish to have it. There 
 may be some objections, too, on that account to the Lord President, for I believe there 
 are some thoughts of having a separate print of him. 
 
 I am. Gentlemen, your most obedient servant, 
 
 (Signed) HENRY RAEBURN. 
 
 P.S. — On reading this letter over I find in some parts it is not very correct, but you 
 will understand what I mean. 
 
 (Initialed) H. R. 
 
 The portrait of Scott mentioned was the full-length painted for 
 Archibald Constable in 1808 and exhibited at the Royal Academy two years 
 later. It will be seen that the portraits of " Dugald Stewart," " Dr. J. 
 Hamilton " and " Lord Blair" date before 1809. 
 
 In the French Gallery exhibition also was a splendid portrait of 
 " Professor George Joseph Bell," the property of the Hon. Ewen Charteris, 
 which was perhaps painted about 1810, the year in which Raeburn painted 
 the portrait of the " Mrs. Bell" referred to in the following letter. 
 
To George Joseph Bell, Esq. 
 
 St. Bernards, 8th December, 1810. 
 My Dear Sir, 
 
 I return you my best thanks for the very handsome manner in which you have 
 paid me for Mrs. Bell's picture. You have enclosed 25 guineas, I return you five of 
 them, which I have no right to accept, my price having been raised since I painted 
 that picture, and my obligations to you are such, that, were it not for the peculiar 
 situation in which I find myself at present, and the great demand 1 have for money, I 
 believe (great as the regard is which I have for you) I would almost have quarrelled 
 with you sooner than I would have accepted of one farthing. 
 
 I had the misfortune late on Thursday night to lose my brother unexpectedly — a most 
 excellent and worthy man, to whom 1 was much attached. I ought to have sent you an 
 intimation, as one I believe interested in what befalls me ; but many escaped me. 
 Believe me, with most sincere esteem and regard, ever yours, 
 
 (Signed) HENRY RAEBURN. 
 
 This epistle is of particular interest ; it gives an idea of Raeburn's 
 prices at the time and corrects a mistake as to the death of his brother 
 which was made by Andrews in his biographer and repeated by Sir Walter 
 Armstrong, R. A. Al. Stevenson and E. Pinnington. The passage in which 
 the mistake occurs in Andrew's book is as follows : " About this time (1787-8, 
 he was now in his thirty-second year) Raeburn removed with his family 
 Deanhaugh to the neighbouring estate of St. Bernards which he had 
 succeeded to on the death of his elder brother William." A Httle research 
 would have revealed the fact that in Edinburgh directories of 1801, 1809 
 appears the name of "William Raeburn, yarn boiler, Stockbridge," and in 
 the Edinburgh Evening Courant of Thursday the 13th December, 1810, we 
 read: "Died on the 6th December, Mr. WilHam Raeburn, manufacturer, 
 Stockbridge." Apart from this proof there are the title deeds of St. 
 Bernards which show that Raeburn purchased the estate from the trustees 
 of Mrs. Margaret Ross in 1809. 
 
 Other portraits of this period are the incomparable "Mrs. James 
 Campbell" and the scarcely less fine portrait of " Mrs. Tod," exhibited at 
 the French Gallery. The latter which was previously unknown has the 
 plastic structure, the liquid purity, the intimate statement of character that 
 marks all great portraiture. In this work, temperament and will are evident. 
 She had been a generous hostess. Her guests would be given abundance 
 of the best things in her larder, and though like Mrs. Poyser, she would not 
 have allowed her mind to dribble like a leaky barrel, there would have been 
 no scandal. 
 
 In 1810 Raeburn seriously thought of removing to London, the reason 
 given by some writer being financial disaster, following the failure in 1808 
 of the firm of " Henry Raeburn, and Company, merchants, Shore, Leith," 
 which consisted of Henry Raeburn, Junior, and James Phihp Juglis who 
 had married Ann Leslie, the artist's step-daughter. The nature of the 
 business is not known, but in all likelihood it had to do with shipping. 
 Raeburn was fond of ships and knew something of shipbuilding and in his 
 own bankruptcy proceedings he was described as "Portrait painter and 
 underwriter," which, as Mr. Caw suggests, that the business was in the 
 nature of marine insurance. In the "crash" Raeburn lost all his money. 
 Alexander Cunningham in a letter written on the 16th February, 1808, says: 
 " I had a walk of three hours on Sunday with my worthy friend, Raeburn. 
 He had realised £17,000, which is all gone. He has offered a small 
 
iPhoto Annim 
 
 LORD ELDIN 
 
composition, which he is in hopes will be accepted. He quits this to try his 
 fate in London, which I trust in God will be successful. While I write this 
 I feel the tear start." Raeburn may have intended at that time to go to 
 London, but though he received his discharge in June, 1808, the affairs of 
 Henry Raeburn and Company were not settled until March, 1810, and no 
 doubt the artist delayed his projected change until he was at ease in mind 
 and finance. Within a year after the failure he was in a position to purchase 
 St. Bernards and by the spring of 1810 he felt rich enough to risk the cost 
 of life as a fashionable portrait painter in London. The time was in his 
 favour. Hoppner died on the 23rd of January, 1810, and left Lawrence 
 "without a rival." On the 2nd of March of that year Sir David Wilkie 
 noted in his Journal that he had heard of Raeburn's intention of coming to 
 London and that he was to occupy Hoppner's house. On the 12th of May, 
 Sir David entered : " Had a call from Raeburn (the painter), who told me he 
 had come to London to look out for a house, and to see if there was any 
 prospect of establishing himself. I took him by desire to Sir William 
 Beechey." 
 
 Another entry states that Wilkie took Raeburn to see several artists, 
 "who happened to be from home or engaged." On another occasion Sir 
 David " went with Raeburn to the ' Crown and Anchor,' to meet the 
 Gentlemen of the Royal Academy. I introduced him to Flaxman ; after 
 dinner he was asked by Beechey to sit near the president (West) where his 
 health was proposed by Flaxman ; great attention was paid to him." 
 Despite Wilkie' s kindness and " great attention" Raeburn was persuaded to 
 return to Edinburgh. Sir Thos. Lawrence was the only painter who might 
 have been affected by Raeburn's presence in London, and it has been hinted 
 that the future president of the Royal Academy was responsible for the 
 Scot's departure from the Metropolis. Cunningham was told that Raeburn 
 once dropped some words which clearly meant that "the President of the 
 Royal Academy had been no loser by his absence from the field of 
 competition." If Raeburn ever suggested such an idea it must have been 
 long after his visit to London in 1810 for Lawrence did not become 
 President of the Academy until 1820. W. E. Henley puts the case in this 
 light. Lawrence by advising Raeburn to leave London " secured himself in 
 his position as the painter of fashionable and distinguished England. He 
 was wise in his generation, no doubt, but it is a matter for lasting regret 
 that he prevailed ; for it is beyond question that Raeburn would soon have 
 filled the larger stage, and it is reasonable to assume that his example might 
 have passed into a tradition, so that his sane and vigorous opinion would 
 thus have been felt as a force in EngHsh portraiture even to this day." 
 
 Raeburn's return to Edinburgh was " followed by a long period of 
 brilliant work." About this time were painted portraits like the "Lord 
 Newton," "Mrs. James Campbell," "Lord Craig" and in 1814 came two 
 pictures' that produced several interesting Raeburn letters. About the 
 beginning of the Nineteenth century David Stewart Erskine, eleventh Earl 
 of Buchan "that most absurd personage" discovered a portrait which he 
 beheved to represent George Buchanan the Scots scholar, by Titian. The 
 origin of the painting is doubted and some declare that the portrait is an 
 effigy of Pierre Jeannin, Finance Minister to Henry IV. of France. These 
 doubts I cannot set aside, but there is proof that Raeburn made two 
 
 xli. 
 
copies of it, one for the Earl of Buchan, another for the Buchanan Society 
 of Glasgow. On the 7th of February, 1814, Raeburn wrote a letter to the 
 Earl of Buchan asking permission to make a copy of the picture for a 
 representative of the family, who appears to have been Hector Macdonald, 
 one of the principal clerks to the Court of Session. One of his colleagues 
 was (Sir) Walter Scott who referred to him as " mine honest friend," and, 
 according to Lockhart, visited almost every year at Macdonald's seat at 
 Ross Priory, Loch Lomond. This gentleman had married Jean, a daughter 
 of Robert Buchanan of Ross and Drummikill and added to his own name 
 that of Buchanan. 
 
 Raeburn's letter, which Mr. C. Fairfax Murray kindly allows me to 
 publish, reads : — 
 
 To THE Right Honorable the Earl of Buchan, 
 
 Dryburgh Abbey, Melrose. 
 
 Edinburgh, Ith February, 1814. 
 My Lord, 
 
 It would appear that you have deserted Edinburgh altogether — at least I am almost 
 tempted to fear that you have forsaken me, for I do not know when I had the pleasure 
 of seeing your Lordship. 
 
 Knowing your liberality and the friendship I have ever experienced from your 
 Lordship, I venture to ask your permission to copy your portrait of Geo. Buchanan for 
 the representative of that family. I need not say, if I am to copy it, that your Lordship 
 may depend on my taking the greatest care of your picture, and I shall mark on the back 
 of the copy that it is done from the original in your Lordship's possession. 
 
 I hope you will do me the honor to look in the first time you are in Edinburgh. I 
 know you would think it an idle question to ask how you do, as there is never anything 
 the matter with your Lordship. 
 
 I remain, with the highest respect, my Lord, 
 
 Your most obedient and faithful servant, 
 
 (Signed) HENRY RAEBURN. 
 
 Raeburn's letter is endorsed in the Earl's own handwriting : — 
 
 "1814. Feb. 7th. Pine arts. Henry Raeburn, Esqr., desires to copy the portrait of 
 Buchanan for the family of Drummikill. The picture is now at Mrs. Fletcher's, in 
 North Castle Street, and is to remain with Mr. Raeburn till I come to Edinburgh or 
 send for it. (Initialed) B." 
 
 The portrait was painted in due time and there need be no uncertainty 
 that this copy is the one still hanging at Ross Priory. The proposal that 
 a copy should also be made for the Buchanan Society came from the Earl of 
 Buchan as we see from the minutes of the society dated Oct. 18th, 1814 : — 
 
 "A Letter from the Right Honorable the Earl of Buchan, addressed to the 
 treasurer, was laid before the meeting, stating that his Lordship had an original painting 
 of the celebrated George Buchanan, the Scottish historian, and politely offering to 
 allow any artist to take a copy of it for the use of the society. The meeting is of 
 opinion that the Letter should be communicated to the general meeting of the society, 
 to be held on the eighth day of November next, and in the meantime they appointed 
 Mr. Archibald Buchanan, of the Atlas Office, to enquire at Mr. Raeburn, artist in 
 Edinburgh, as to the probable expense of a copy of the picture, and to communicate 
 the result to the general meeting." 
 
 The general meeting considered the matter and its decision is recorded 
 in the minutes thus : — 
 
 "The Letter from the Right Honorable the Earl of Buchan, mentioned in the 
 minutes of last meeting of the directors, was communicated to the meeting, with the 
 proceedings thereon, and Mr. Archibald Buchanan having read a letter from Mr. Raeburn 
 
 xlii. 
 
stating that the expense of the copy of the picture of George Buchanan would 
 be twenty-flve guineas, exclusive of the frame : It was resolved unanimously that the 
 picture should be obtained at the expense of the society, be kept under the charge of 
 the treasurer to the society for the time being, and hung up in the room where the 
 society's meetings are usually held during such meetings." 
 
 " The thanks of the society were then voted unanimously to the Right Honorable 
 the Earl of Buchan for his politeness in allowing the society to take a copy of the 
 picture, which they desire the preses, treasurer, and secretary to communicate by 
 letter to his Lordship." 
 
 Raeburn's communications on the subject are preserved by the 
 Buchanan Society, whose members and secretary, Mr. P- G. Keyden, kindly 
 allow me to reproduce them from privately printed copies. The letter about 
 the price is not included. 
 
 Edin., 2 Dec, 1814. 
 
 (1) 
 
 Sir, 
 
 In your letter of 9th November, you desired me to inform you when the Portrait of 
 Geo. Buchanan should be finished, and I now beg leave to mention that it is done, and 
 I shall be happy to receive your further orders. 
 I am, Sir, 
 
 Your mo. obedt. Servt., 
 Arch. Buchanan, Esq. (Signed) HENRY RAEBURN. 
 
 (2) 
 
 Edin., 13 Dec, 1814. 
 Sir, 
 
 I send you by the Carrier the Portrait of Geo. Buchanan, carefully packed, and I 
 have no doubt but you will receive it safe. Lord Buchan is of opinion that the 
 original was painted by Titian, I am not well enough acquainted with the history of 
 Geo. Buchanan to be able to say whether he had an opportunity of being painted by 
 that master, but it is not unlike his style, and at all events is an excellent Picture. I 
 have been at great pains to make the copy like, and I hope the Society will be pleased 
 with it. I would recommend that it should not be sent to a frame maker's shop for fear 
 of accidents, 'tis enough that the measure of it be given. 
 
 You are pleased to bid me draw on you for the amount, which is 25 Guineas, but it 
 will be easier managed if you will have the goodness to order that sum to be paid into 
 the ofSce of the Royal Bank at Glasgow on my account, and I receive it from the Bank 
 here. 
 
 I remain, Sir, 
 
 Your most obedt. and faithful Servant, 
 Archd. Buchanan, Esq., Glasgow. (Signed) HENRY RAEBURN. 
 
 (3) 
 
 Edin., 24 Dec, 1814. 
 
 Sir, 
 
 I have this morning the honor of your letter of yesterday, covering a Dft. for 
 £26 5s., being the payment for the copy of a Portrait of Geo. Buchanan, and for which 
 1 beg you will accept my best thanks. It gives me very great pleasure to believe from 
 an expression of your letter that you are satisfied with what I have done, and I remain, 
 with great respect. Sir, 
 
 Your most obedt. and faithful Servt., 
 To Archd. Buchanan, Esq., Glasgow. (Signed) HENRY RAEBURN. 
 
 Two years before this Raeburn was elected an associate of the Royal 
 Academy. His visit to London in 1810, and introduction to certain members 
 of the Academy no doubt helped to bring this honour. Cunningham would 
 make us believe that Raeburn was disappointed because of the apparent 
 neglect of the English and other Academies, and in the Anderson collection 
 
 xliii. 
 
of Royal Academy Catalogues, we find a note which states that Raeburn 
 " had long sought for the honourable distinction of Royal Academician to be 
 added to his name." This eagerness for Academic laurels is not borne out 
 by the artist himself. In a letter written in 1814 to a friend in London: — 
 
 " I observe what you say respecting the election of R.A., but what am I to do here ? 
 they know I am on the hst ; if they choose to elect me without solicitation, it will be the 
 more honorable to me, and I will think the more of it ; but if it can only be obtained by 
 means of solicitation and canvassing, I must give up all hope of it, for I would think it 
 unfair to employ those means. I am besides out of the way and have no opportunity. 
 I rejoice in the worthy president's increasing reputation ; it is pleasing and consolatory 
 to see that additional powers come with the increase of years. Write and tell me what 
 artists are about, and whether anything be indispensable for a person who desires to 
 become a member of the Royal Academy. Were you in sufficient health to see Somerset 
 House during last exhibition ? I had some things there, but no artist of my acquaintance 
 has been kind enough to write me one syllable on the subject, to say either what he 
 thought himself, or what others thought." 
 
 Raeburn's pictures that year were " Sir David Baird," " Lord Seaforth," 
 and two unnamed portraits, and they with the friendship Wilkie, may have 
 secured Raeburn's election to full rank in the following year 1815. As his 
 diploma picture, he sent the magnificent portrait of himself, now in the 
 Scottish National Gallery, but it was refused because of the rule that self- 
 portraits of the members were not accepted. Consequently he waited until 
 1821 before he sent the beautiful " Boy and Rabbit," which is a portrait of 
 his step-grandson who was deaf and dumb. Soon after his election he was 
 made a member of the Imperial Academy of Florence ; in 1817 the New 
 York Academy of the fine arts elected him as an honorary member ; in 
 November a similar favour was bestowed by the Academy of arts, South 
 Carolina, and he was admitted a fellow of the Royal Society of Edinburgh. 
 
 About 1815 he painted the splendid portrait of his wife, which now 
 belongs to Sir Ernest Cassel, and it was succeeded by the portrait of 
 Admiral " Sir David Milne." This work which was a commission from 
 George Holme, of Paxton, was long delayed in the painting as will be seen 
 by these letters. First I give a letter from Raeburn to Mr. Home 
 about a copy of Lord President Blair's portrait, as this epistle precedes 
 
 the others. 
 
 Edinburgh, I2th May, 1814. 
 Dear Sir, 
 
 Your copy of Lord President Blair's portrait was sent to me a few days ago. 
 Have the goodness to inform me if it is to be sent out to you, and whether it is to be 
 framed, and I shall give orders about it immediately. 
 I am with sincere respect, dear sir, 
 
 Your most obedient and faithful servant, 
 
 HENRY RAEBURN. 
 
 Then in a letter from Captain, afterwards Sir David, Milne to George 
 Home, of Wedderburn, we read : — 
 
 " My father is just now very well. Yesterday he walked up and dined with me and 
 walked home after. He has consented to go to Raeburn on Wednesday, which I am 
 happy at." 
 
 From this extract it would appear that Raeburn painted a portrait of 
 Sir David's father. If he did, there is no record of it. 
 
 Then follow three letters from Raeburn, all to Mr. Home. 
 
 xliv. 
 
[Photo Annan 
 
 MRS. ALEXANDER McCRAE, ALEXANDER McCRAE, JON. 
 AND THOMAS ANN McCRAE 
 
(1) 
 
 „ „ Edinburgh, 28th November, 1817. 
 
 Dear Sir, 
 
 I am this moment favoured with yours, and am ashamed to say that your portrait 
 of Sir David Milne still v?ants a gfood deal of being finished. It is my intention, if 
 possible, to have it at the London Exhibition, and every exertion shall be made to get 
 It accomplished ; and the only apology I have to make for its not having been finished 
 before now, and the true one, is just that I have really been oppressed with business. 
 I am, with great respect and esteem, dear sir, 
 
 Your most faithful servant, 
 
 HENRY RAEBURN. 
 
 Mr. Home's reply was to the effect that if Raeburn did not get the 
 portrait finished for the next year's exhibition he could not wait another 
 year. 
 
 (2) 
 
 Edinburgh, 17th March, 1818. 
 Dear Sir, 
 
 I have the pleasure of telling you that the portrait of Sir David Milne, is not only 
 finished, but shipped this morning for London for the Exhibition, according to your 
 wish, and I flatter myself it is a picture that will do me some credit. As the weather 
 is upon the whole boisterous, I presume you will think proper that I insure it. The 
 picture itself is 140 gs., and the frame and case, although I do not yet know precisely 
 the amount, yet I do not think they will be much under 30 gs., at which sum I will 
 insure them, as I suppose you will, with me, think that it is not necessary to risk the 
 loss of money. 
 
 I remain, with very great esteem, dear Sir, 
 
 Your most obedient and faithful servant, 
 
 HENRY RAEBURN. 
 (3) 
 
 Edinburgh, 20th March, 1818. 
 Dear Sir, 
 
 I have the pleasure of your letter of the 18th. I know your name perfectly, and am 
 quite ashamed of having written John, but I recollect some person came in upon me at 
 the very time I was addressing the letter, which probably was the cause of the blunder. 
 I shall write to London and endeavour to get you notice of what would be the expense 
 of a print, but it will be necessary that you tell me the size, and also the nature of the 
 engraving, whether a mezzotint or a stroke engraving, for much depends on these 
 circumstances. 
 
 The rest of the letter deals with the insurance and sending of the 
 picture to its owner at Paxton, at the close of the Exhibition. I do not 
 know whether an engraving was made of the portrait, which is the property 
 of Col. Milne Holme, and shows the Admiral standing at full length in naval 
 uniform, with a view of Algiers in the background. 
 
 The last letter is dated Edinburgh, 9th July, 1818 :— 
 
 Dear Sir, 
 
 I gave orders some time ago that Sir David Milne's portrait should be sent to you 
 direct from London, and as the Exhibition is now closed, I expect to hear every day of 
 its being sent off; but as these voyages are sometimes as expeditious as the post, it is 
 possible that the picture may arrive at Berwick before the information can reach you, 
 
 through me, of its being sent I will write the moment I hear anything about it. 
 
 I am, with greatest esteem and respect. Dear Sir, 
 
 Your most obedient, faithful servant, 
 
 HENRY RAEBURN. 
 
 In referring to the 1818 Exhibition in the Examiner, R. B. Hay don said 
 it was better than many past ones ; for if many, or even the majority, of the 
 artists do not advance, some have advanced greatly. Their thinking and 
 
 xlv. 
 
executive powers have been nurtured by evident painstaking emulation. As 
 proofs of this we refer to the greater part of the following works. Among 
 the pictures mentioned are Raeburn's portrait of " Sir David Milne," and 
 Constable's " Landscape, breaking of a shower." The story is told about 
 the latter picture that Fuseli asked his housekeeper for an " ombrella, as he 
 was goint to see Constable's ' Shower.' " 
 
 It has been said that Raeburn's later method was influenced by the 
 work of Hoppner and Lawrence, the one an eclectic, the other, save in his 
 best portraits of men, superficial and flimsy. The facts are against this 
 assumption. Where and when did he find the opportunity to study their 
 art ? He visited London on three occasions only, in 1795, 1810 and in 1815, 
 after his election to the Royal Academy. He knew scarcely anything of 
 what was going on in London Art circles as the following letter to 
 Wilkie shows : — 
 
 Edinburgh, 
 
 I2th September, 1819. 
 My Dear Sir, 
 
 I let you to wit that I am still here, and long much to hear from you, both as to 
 how you are and what you are doing. I would not wish to impose on you any hardship 
 upon you, but it would give me the greatest pleasure if you would take the trouble to 
 write me at least once a year, if not oftener, and give me a little information of what is 
 going on among the artists, for I do assure you I have as little communication with any 
 of them and know almost as little about them as if I were living at the Cape of 
 Good Hope. 
 
 I send up generally a picture or two to the exhibition, which serve merely as an 
 advertisement that I am still in the land of the living, but in other respects it does me 
 no good, for I get no notice from anyone, nor have I the least conception how they look 
 beside others. I know not in what London papers any critiques of that kind are made, 
 and our Edinburgh ones (at least those that I see) take no notice of these matters. At 
 anyrate I would prefer a candid observation or two from an artist like you, conveying 
 not only your own opinion but perhaps that of others, before any of them. 
 
 Are the portrait painters as well employed as ever. Sir Thomas Lawrence, they tell 
 me, has refused to commence any more pictures till he gets done with those that are on 
 hand, and that he has raised his prices to some enormous sum. There came to me this 
 morning two critical descriptions of Mr. Stothard's " Procession to Canterbury " and 
 Mr. West's " Death on a Pale Horse," by Mr. Carey, but through what channel they 
 have come I do not yet know. So far as I have looked into them they seem to me 
 remarkably well written. Do you know is that true, and will you do me the favour to 
 tell me what his prices really are, and what Sir W. Beechy, Mr. Philips, and Mr. Owen 
 have for their pictures? It will be a particular favour if you will take the trouble to 
 ascertain these for me precisely, for I am raising my prices, too, and it would be a guide 
 to me — not that I intend to raise mine so high as your famous London artists. 
 
 I was sorry to hear that Mr. West had been far from well. I hope he is now better. 
 Accept my best wishes and believe me, with sincere esteem, yours faithfully, 
 
 (Signed) HENRY RAEBURN. 
 
 This is an extraordinary letter for a man of Raeburn's genius to have 
 written. The unbounded modesty and childlike naivete are rare even among 
 men of outstanding talent. When one looks at his magnificent portraits 
 and thinks of the huge sums they now realise at Christie's it is difficult to 
 understand the lack of contemporary appreciation. Some years afterwards, 
 in 1822, he wrote to William Paulet Carey, the painter and art critic 
 mentioned in the epistle quoted, but only part of the former document has 
 fallen into my hands. 
 
 The critic evidently had been in Edinburgh, and Raeburn's letter to him 
 refers to a conversation of some art matter of interest to the artist who 
 
 xl vi. 
 
says he had not heard "A sylable upon the subject since you left this, nor 
 have I ever to my recollection heard in what publication your thoughts are 
 conveyed to the public. And having no correspondent in the metropolis but 
 my friend Mr. Wilkie who generally writes me about once a year." The 
 letter concludes thus : — 
 
 " Now, my dear Sir, I know that all your countrymen are warm and 
 very warm, but they are kind too, therefore, after cooling a little I will lay 
 my account with an answer to this letter. Mrs. R. is seeing me employed 
 in such an unwonted manner asks to know to whom I could be writing and 
 requested I would send her best regards in which she was joined by her 
 son and his wife. Before concluding, allow me to congratulate you on what 
 I suppose must by this time have taken place, viz., your having got your 
 money from my Lord Strathmore." 
 
 After his visits to London in 1810 and 1815, his work certainly 
 assumed a suaver aspect, a more delicate sense of colour, but the man who 
 could paint a "Sir Nathaniel Spens," "Sir John Sinclair," "Mrs. James 
 Campbell," "Lord Newton," "Mrs. Cruikshank," "Mrs. Campbell of 
 Balliemore," had more to give Hoppner and Lawrence than they had to 
 offer him. These works were followed by others that showed increasing 
 power to the end of his career. In succession came splendid portraits of 
 men like "Mr. James Byres, of Tonley"; the artist's own portrait; the 
 magnificent " Lady Raeburn " (c 1815) ; the " Sir David Milne," 1818 ; the 
 "Lord Craig," of the same year; "James Wardrop of Torbanehill" ; 
 "Andrew Wauchope " ; the exquisite "Boy and Rabbit," 1821; and the 
 masterly portrait of Scott, 1822-23. Then among portraits of women we 
 have " Lady Maitland," 1817; the charming "Miss Margaret Suttie " and 
 "Miss Janet Suttie"; the famous picture of "Mrs. Scott-Moncrieff " ; 
 "Miss Anne Cunningham-Grahame, of Gartmore " (c. 1821); "Lady 
 Belhaven " ; " Mrs. Gregory " ; " Mrs. Simpson " ; " Mrs. Hay, of Spot " ; 
 "Miss Ross"; "Mrs. Stewart, of Physgill" ; "Mrs. Ferguson, of 
 Trochraigne " ; "Mrs. Grant, of Kilgraston " ; "Mrs. Irvine Boswell" ; 
 "Mrs. de Vismes"; "Mrs. Vere, of Stonebyre," and "Mrs. Douglas"; 
 "Lady Stewart, of Coltness " ; all creations of great beauty. 
 
 A letter dated Edinburgh, the 17th July, 1816, is supposed to refer 
 to a " Portrait of a Boy " exhibited at the Royal Academy in that year. 
 The letter reads : — 
 
 Dear Sir, 
 
 I had a letter from you — I am ashamed to say a long time ago — without my 
 ever having the grace to reply to it, and I dare say you have long thought me unworthy 
 of the trouble you gave yourself, and I must confess it to be all true, but trust to your 
 goodness that you will forgive me. 
 
 Having a sketch of a young friend of mine lying by me for some time, I have taken 
 it into my head to send it to you by the smack " King George," if you think it worth 
 the having up in your own room, you may do so. I remain, with sincere esteem and 
 best wishes, my dear sir, 
 
 Your most obedient and faithful servant, 
 
 HENRY RAEBURN. 
 
 xlvii 
 
CHAPTER VI. 
 
 Iv'AEBURN Prices. 
 
 Raeburn, as we have seen, was a man of generous nature. In his busy life 
 he found time to help his fellow artists in deed and word. We know how 
 he encouraged David Roberts, R.A., whom he found when a boy sketching 
 in the garden. He lent the showrooms of his studio in York Place to the 
 Society of Artists when its members inaugurated a series of exhibitions in 
 1808 ; and in 1822 he used his influence on behalf of his fellow painters, who 
 " partly in opposition to the Royal Institution," proposed to form an 
 Academy. The letter written by Raeburn in support of this movement is 
 fully transcribed in Mr. James L. Caw's excellent work, " Scottish 
 Painting, Past and Present," and he kindly permits me to reproduce this 
 interesting document, which gives an idea of the extent of his practice. 
 
 York Place, 24th December, 1822. 
 Dear Sir, 
 
 I formerly mentioned to you that I had received several visits from some of the 
 oldest and best established artists of this place, and also stated to you what had been 
 the object of their visits. 
 
 It will probably be in your recollection that a few years ago the artists here had 
 several Exhibitions, which were made by way of experiment, and which succeeded far 
 beyond their expectations. 
 
 By these Exhibitions they had realised a fund amounting to between £500 and £600, and 
 at that time it was the intention of those whose labours had, perhaps, contributed most 
 to the success of the Exhibitions, to apply for a Charter and have themselves formed 
 into a Corporate Body. 
 
 But unfortunately for their purpose, they had at the first outset been guilty of a great 
 oversight. That they might not seem to act upon a system of exclusion, they had 
 admitted too many into the Society whose works were of little importance to its 
 success, but whose voice when a matter came to the vote was just as efficient as that of 
 those by whom alone it may be said to have been sustained. 
 
 Before those members had matured their plan, the poorer and less efficient members 
 threw their eyes upon the fund, a motion was made to divide it, and carried by a 
 majority against the sense of the older and more efficient members; and thus what 
 would otherwise have been a bond of union was dissolved. 
 
 This was to many a great disappointment, but there was no quarrel as the public 
 supposed, for it was impossible to be displeased with them who voted for the division, 
 as it was known that the fund, small as it was, had become an object to several, and 
 that others to whom it was a matter of indifference had, from a knowledge of this 
 circumstance, voted with them. 
 
 It had been found at the same time from experience, that an annual Exhibition was 
 too great an undertaking for this place, and more than they were able to sustain. The 
 idea of continuing it was, therefore, laid aside for the present, and it was just beginning 
 to be taken up again when the Institution for the encouragement of the fine Arts was 
 established. 
 
 The purpose of instituting a Society having again been resumed by those who first 
 projected it, they now propose to admit only a limited number, and to make it a sine qua 
 noil of admission, that the funds shall never be divided, but shall be applied to the 
 purposes after mentioned. 
 
 When these gentlemen came to inform me of their intention, I begged to know if 
 they were influenced by any motives or views that were hostile to the Institution. 
 They replied that it was quite the reverse. They had the highest esteem and respect 
 for the gentlemen of the Institution, and both their motives and their conduct met with 
 their most unqualified approbation. But as it was their own fixed purpose that their 
 
 xlviii. 
 

 
 
 
 
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funds, as they came in, should be laid out in the purchase of Books, Prints, and such 
 other articles connected with Art, as would be useful both to the student and advanced 
 artist, they considered themselves co-operating in the views of the Institution, and, 
 therefore, had no doubt but that they would meet with their countenance and 
 approbation. 
 
 Upon my stating that, in all probability the Institution, in as far as the application of 
 the funds was concerned, had the same things in contemplation, they replied that it 
 might be so, but even in that case that a separate Society and distinct funds would be 
 
 necessary for the following reasons : 
 
 , Vv" . .^^<=*V^^ *^^y could in no instance derive benefit from the good intentions of the 
 institution without previous or perhaps frequent applications to that Society, that 
 every such application would of course be delayed till there should be a meeting of the 
 Committee, and probably a reference made by the Committee to the general meeting, 
 and that delays even with the kindest intentions on the part of the Institution might 
 thus take place, till the very purpose for which the application was made had gone by. 
 
 2nd. 1 hat every application necessarily implied a power of control on the one side 
 and a state of dependence on the other, to which, in so far at least as concerns the use 
 their own property arising from the fruit of their own labours, there was no necessity 
 for subjecting themselves. 
 
 3rd. That in the management of their own affairs, it was easy to foresee a variety of 
 little circumstances which would require to be attended to, and arrangements that 
 would require to be made, in order to afford conveniences and facilities to themselves in 
 the use of their property, which it could not be expected that the Institution would 
 condescend to be troubled with. 
 
 4th. And beside all this, there was something degrading in the idea which had gone 
 abroad that they were unfit to conduct their own affairs, and, therefore, it had become 
 necessary to take the management into their own hands. 
 
 Now, my dear Sir, I confess to you that there were several of these arguments which 
 I thought unanswerable, but I shall be glad to have your opinion upon the subject, before 
 you communicate these views of the artists to any members of the Institution. 
 
 As for myself, I have nothing to gain by the measure. I have in my own possession 
 as many of the means of improvement as I have time to attend to, and my business, 
 though it may fall off, cannot admit of enlargement. In so far, therefore, as I am 
 personally con — , I am quite indiff'erent about it, but I wish well to the Arts of this 
 place, which I think this measure would rather tend to improve, and I wish well to the 
 Artists because I believe them to be as worthy a set of men as can be found in any 
 profession, and I have uniformly received so much kindness and regard from them, that 
 I cannot refuse to go along with them in any matter that appears reasonable. 
 
 The present proposal I consider to be of this kind, at least according to the view that 
 I have of it, but as I am anxious to be concerned in nothing but what shall be 
 considered just and reasonable, I shall be glad to receive your opinion upon the subject. 
 
 I am, with great esteem and regard, my dear Sir, 
 
 Your most obedient and faithful servant, 
 
 HENRY RAEBURN. 
 To Jambs Skene, Esq. 
 
 Raeburn's death in 1823 evidently deferred the formation of a society 
 of artists on the basis proposed, for it was not until 1826 that a Scottish 
 Academy was founded. Another instance of his readiness to befriend young 
 artists was seen in a short letter which was sold at Sotheby's last year. 
 In this epistle written a few months before his death, he wrote to the 
 secretary of the Edinburgh Trustees Academy, about a youth who wished 
 to enter the schools. Raeburn's popularity as a man was as great as the 
 admiration expressed for his paintings. This was shown when on the occasion 
 of a visit of George IV., to Edinburgh, in 1822 — the first visit of a king to 
 Scotland, since the Union of Parliaments — Raeburn was knighted on 
 August 29th, his fellow artists entertained him to a public dinner, Alexander 
 Nasmyth and the painter as chairman. Sir William Beechey sent his 
 congratulations, and the following letter was Raeburn's response. 
 
 xlix. 
 
Edinburgh, Sept., 7th, 1822. 
 My Dear Sir, 
 
 Yesterday I had the pleasure of your kind letter, and do assume now that the 
 hearty congratulations of my friends, among whom I have much reason to rank Sir 
 W. Beechey, have not been less acceptable to me than the honour which His Majesty 
 has been pleased to confer upon me. Accept my best thanks for your kind wishes, and 
 allow me to add that I have never forgotten the liberal manner in which you were pleased 
 to take of any little merit I possess, even long before I had the pleasure of knowing 
 you — and also since has reached my ears from different quarters. But this is just what I 
 would expect from Sir W. B. — an able artist himself, and far above that little jealousy 
 which sometimes enters into the feelings of artists of inferior note. I need not say that 
 you have always had my best word, and my best wishes in the fullest sense of the word. 
 Our friend Wilkie is here — to whom I have sent your letter; he leaves this (place) 
 to-day, and by him I send this letter. 
 
 Ever yours, 
 
 HENRY RAEBURN. 
 
 In May, of the next year, the king appointed him his " Limner and 
 painter in Scotland, with all fees, profits, salaries, rights, privileges, and 
 advantages thereto belonging." 
 
 In an entry under Raeburn's name in the second volume of " Engraved 
 British Portraits." It reads thus : " George IV., nearly w^hole length, to 
 right, seated in armchair, looking to right ; in private dress, book in right 
 hand; mezzotint; T. Hodgetts. PubHshed by D. Hatton, Edinburgh." 
 As a matter of fact Raeburn never painted a portrait of George IV. Sir 
 Henry vi^as commanded to do so, but he died before he could undertake the 
 work. Here is the history of the portrait which has misled the British 
 Museum authorities. The story was told by James Drummond, R.S.A., to 
 Dr. John Brown, who relates it in his delightful " Horae Subsecivae." 
 Hatton, the print-seller, had a fine plate of Raeburn's portrait of Dr. 
 Thomas Hope, professor of chemistry at Edinburgh University, and when 
 George IV. came to Scotland, "we were all mad about him from Sir Walter 
 (Scott) downwards." The print-seller, having made " his utmost out of the 
 plate as ' Dr. Hope,' scraped his head out and put in that of the bewigged 
 and becurled ' First Gentleman in Europe ' . The rest of the plate remains 
 unchanged, except the Royal Arms on the book and the Star of the Garter 
 on the doctor's breast . . . It is altogether the best of jokes." The 
 British Museum cataloguer in the volume referred to also records the Hope 
 engraving somewhat as follows : " Hope, Charles Thomas ; whole length ; 
 to right, seated in easy chair, book in right hand. T. Hodgetts. Mezzotint." 
 
 As it proved these honours came at the very end of his life. In July he 
 joined an excursion to Fifeshire. Among the company were Sir Walter 
 Scott, Miss Edgworth, Sir Adam Ferguson, and Lord chief Commissioner 
 Adam. A delightful time was spent and Raeburn "contributed largely to 
 the enjoyment of the party." But on the day after his return Sir Henry 
 went to his gallery in York Place, "and began to touch the portrait of a 
 Mrs. Dennistoun, but was unable to proceed. He walked home, and with 
 considerable headache, went to bed whence he never rose." This account 
 differs from that of Sir Walter Scott who believed that his (Scott's) own 
 portrait was the last one touched by Raeburn. There is no other record of 
 the Dennistoun picture. Morrison hearing of his illness called late in the 
 evening to see Raeburn and was told that there was no hope of his recovery. 
 " This was twenty-four hours before his death. He was lying with his eyes 
 
shut, but not asleep. I touched softly the hand which was lying across his 
 breast — the hand which had been so often outstretched to welcome me." 
 Raeburn died on the 8th July, 1823, and was buried in St. John's Church at 
 the West End of Princes Street. A few years ago an anonymous admirer 
 placed a tablet in the wall to show the spot where the painter's grave lay 
 undistinguished, and a Hfe-size statue of him by Mr. Pittendrigh Macgillivray 
 stands in one of the niches in the Scottish Portrait Gallery, in Queen Street, 
 Edinburgh. Lady Raeburn, who on no account would allow herself to be 
 called '"My lady," died ten years after her husband. They had two sons, 
 Peter who died young, and Henry. The latter had three sons and five 
 daughters ; the second daughter married Sir Wm. Andrew and one of their 
 sons William Raeburn Andrew wrote a life of Sir Henry, 
 
 If Raeburn kept no diaries, the under-noted letters to the Earl of 
 Hardwicke prove that he kept Account books which if they were discovered 
 would furnish much information about the names of sitters and the prices 
 paid for his pictures. 
 
 Ed., 13 Bank St., 
 
 3d Oct., 1823. 
 My Lord, 
 
 Mr. Raeburn has put into my hands the books of the late Sir Henry Raeburn in 
 order to ascertain the sums due to him. There appears to be due by you lOOgs. for a 
 portrait of your Lordship which Mr, Raeburn will be obliged by your ordering payment 
 of to me who am authorised to receive and discharge the debts due to his father. 
 
 H. D. DICKIE. 
 
 30 yune, 1824. 
 
 I have now the honor of informing your lordship that your portrait was yesterday 
 shipped on board the " Forth," George Stewart master, conform to receipt enclosed. The 
 case is addressed to your lordship " London," not knowing your particular residence so 
 that it may be necessary for your Lordship to cause directions to be sent to the Leith 
 and Glasgow Wharf, London. 
 
 The following docket is then presented : 
 
 Price £105 
 when if your Lordship has 
 
 already remitted 50 
 
 Frame 
 
 Packing case and packing 
 
 Carriage to Leith 
 
 H. D. Dickie was a writer to the Signet and legal adviser to Raeburn, 
 He died in 1839, but I have failed to trace his successors. If there were 
 any they no doubt preserved Raeburn's books which may be in existence 
 to-day. His name appears on a feu charter for 16 Ann Street, Edinburgh, 
 by Henry Raeburn granted on the 7th May, 1820, to James Mackenzie, W.S., 
 who was a son of Henry Mackenzie, the "Man of feeling," and the original 
 of one of Raeburn's finest canvases. Ann Street which was named after 
 Raeburn's wife, formed part of the land purchased by Raeburn in 1798, at a 
 public sale from the trustees of Mrs. Ross, widow of Walter Ross, W.S., 
 with the barony of Dean, which belonged to Sir John Nisbet. Mr. John 
 Geddie, author of " Romantic Edinburgh," and present occupier of No. 16 
 
 li. 
 
 55 
 
 
 
 15 
 
 15 
 
 
 2 
 
 12 
 5 
 
 6 
 
 £73 
 
 12 
 
 6 
 
Ann Street, says in an account of " Sculptured Stones of Old Edinburgh " 
 that " strict rules were laid down in the feu charters for the preservation of 
 
 the amenity of the district, as well as the rights of the superior 
 
 Feuars were bound to take their ale or beer from any brewer within the 
 barony of Dean that Sir John Nisbet and his successors should nominate." 
 In Mr. Geddie's charter this rule is set forth and I suppose it could be 
 put in force to-day. 
 
 A word may be said about the prices Raeburn received for his portraits. 
 In 1787 he was paid £18 for a three-quarter length; he had sixty guineas 
 for " Sir John and Lady Clerk," which now belongs to Mr. Otto Beit. 
 About 1804 his price for a head was twenty guineas ; by 1810 it rose to 
 twenty-five guineas. In 1818 he received £147 for portraits of Mr. and Mrs. 
 Gordon Aitkenhead, measuring 50 by 40. We gather this in the following 
 extract fi'om a letter by Raeburn : — 
 
 "To say that the Gentlemen of Glasgow pay like princes would be doing them the highest 
 injustice, for they pay better than any of your great folks that ever 1 had anything to do 
 with. I have just had the pleasure of your letter a bill on Messrs. Kinnear and Sons 
 for £147, for which I beg you will accept my best thanks. With much esteem and many 
 good wishes for yourself and family." 
 
 We have seen that in the same year his portrait of " Sir David Milne " 
 was insured for £140, but that may not have been the actual cost of the 
 picture. It is known, however, that in 1820 his price for a bust was fifty 
 guineas, and in 1822 the W.S. Society gave him a hundred guineas for the 
 portrait of "Lord Hume" (50 by 40), and a similar sum was paid to his 
 trustees by Lord Hardwicke for a portrait. Of late years some of his finest 
 portraits have changed hands at sums amounting to five figures. 
 
 But it was not until last May and July that his art triumphed at 
 Christie's. On the 19th of the former month all auction records for a 
 picture of any school were broken by the 22,300 guineas paid for a portrait 
 of " Mrs. Robertson WiUiamson " (94 by 58^), which was painted about 
 1823. This enormous sum exceeds the £22,000 realised in the Secretan 
 Sale in Paris in 1889 for Millet's " Angelus," and passes by 8,250 guineas 
 the 14,050 guineas which Messrs. Duveen gave for Hoppner's "Lady 
 Louisa Manners" in 1901. Raeburn's own former maximum of 8,700 
 guineas, the price of his splendid portrait of his wife, now the property of 
 Sir Ernest Cassel, is a trifle compared with the figure of yesterday. Yet 
 for many years after his death Raeburn's art met with no appreciation. He 
 was classed as of the school of Lawrence ; in 1877 forty-nine of his portraits 
 fetched only £6,000, one of that number being his Hkeness of " Lady 
 Raeburn " just mentioned. I am not forgetting the £14,700 at which his 
 " Sir John Sinclair" was " hammered " in 1903, but that sale does not count 
 as the picture was " bought in." Though the 22,300 guineas establishes a 
 British record, America still leads in auction values. In the Yerkes Sale, in 
 New York last year " A Woman," by Franz Hals, reahsed £27,400, and 
 Turner's " Rockets and Bluehghts " brought £25,800. Mrs. Williamson, 
 whose maiden name was W. Boyd Robertson, was the daughter of William 
 Boyd Robertson, who inherited Trochrig, Dumfriesshire, as a descendant of 
 Zachary Boyd, the famous minister of the Barony Church in Cromwell's 
 time, founder of Glasgow College, author of the " Battle of the Soul," 1619, 
 and the " Garden of Zion," 1644. In 1814 she married her cousin Davidson 
 
 Hi. 
 
Robertson Williamson, of Balgray, who afterwards became a Judge of the 
 Court of Session under the title of Lord Balgray. On the death of her 
 uncle, General Archibald Robertson, she succeeded to the estate of Lawers, 
 in Perthshire, it afterwards passing to Mr. Charles Williamson and to his 
 son. Colonel David Robertson WiUiamson, who was the owner of the now 
 famous picture of his grandaunt, which was painted by Raeburn shortly 
 before he died in 1823. This portrait had never previously been offered for 
 sale, and had been housed either in the family residence in George's Square, 
 Edinburgh, or at Lawers. 
 
 In the picture she is seen in a white dress, cut low at the neck, and 
 fastened at the waist with a white satin bow. Over her gown she wears a 
 pink satin coat with long sleeves and tassels, and she stands in easy, graceful 
 fashion in front of a tree. Her left arm rests on a branch, and in her hand 
 she holds a grey ribbon from which dangles a dainty poke bonnet trimmed 
 with roses. The figure, which is set in a landscape, has great beauty, and is 
 painted with the supreme mastery that characterised his art at the end of 
 his life. It is the most decorative of all his paintings known to me, and it is 
 almost similar in dress and arrangement to the lovely " Mrs. Stewart of 
 Physgill," painted about 1823, which Messrs. Duveen sold last year to Sir 
 George Cooper. The chief difference is that the figure, instead of standing 
 to the left as in the latter, is turned to the spectator's right. The face is 
 not of the accepted type of feminine beauty. Here is no compromise to 
 fashion, no exquisite mask that merely makes an attractive patch of colour 
 in a design. The features not only express individuality but national 
 character. The broad cheek bones, the large, lustrous, brown eyes, and the 
 parted lips are symbols of the force that made and keeps Scotland great. 
 
 During the week of the sale this superb portrait commanded the 
 admiration of all. The public and the expert were loud in its praise, and 
 the general belief was that it would realise a vast sum. But the most 
 perfervid Scot never dreamed that it would establish a British record. 
 Immediately before the sale a well-known dealer said he thought it would 
 at least exceed the former Raeburn maximum of 8,700 guineas. But that 
 same gentleman was the under-bidder at 22,000 guineas. A burst of 
 applause rang through the room when the green-baize draping was 
 removed from the picture, and in three bids the figures rose to 5,000 
 guineas. Everyone then felt that it would reach 10,000 guineas. Messrs. 
 Agnew and Duveen found a determined opponent in Mr. Smith, the 
 auctioneer's clerk, and the thousands accumulated until the Hoppner 
 record of 14,050 guineas was broken. Still there was no sign of slackening. 
 In a three-cornered fight hundreds of pounds were exchanged; 17,000 
 guineas, 18,000 guineas, and amid applause 20,000 guineas was reached. 
 But the end of the contest had not yet come. Mr. Smith was receiving 
 mysterious toe-telegraphic messages, and Mr. Louis Duveen wondered 
 who was his real opponent. But, like James FitzJames, he seemed to say : 
 
 Come one, come all, this rock shall fly, 
 From its firm base as soon as I. 
 
 Again to quote from Raeburn's countryman. Sir Walter Scott, Mr. Duveen 
 and Mr. Smith suggested : 
 
 Two dogs of black St. Hubert's breed, 
 
 Unmatched for courage, breath, and speed. 
 
 liii. 
 
Someone, however, had to win, and the " holiest draught of power " fell to 
 Mr. Duveen at 22,300 guineas amid great applause. Mr. Gutekunst, of 
 Messrs. Colnaghi and Co., was the deus machina who moved Mr. Smith. 
 This triumph for the art of Sir Henry Raeburn for the moment made all 
 forget that it also meant a defeat and loss to Britain of a great picture. 
 Though Mr. Duveen bought for his own firm there can be little doubt that 
 the portrait will eventually add to the parade of wealth on the other side of 
 the Atlantic. 
 
 After the sale I called at Messrs. Duveen's premises and saw the 
 picture in a better light than that at Christie's. Its qualities were more 
 apparant, its suave force was more impelling. On examining the back of 
 the canvas there appeared the inscription " Middleton, St. Martin's-lane, 
 London," which was the name and address of the artist's colourman, who 
 supplied Raeburn with all his canvas, paint, and brushes. A letter in Sir 
 Henry's handwriting in proof of this statement is reproduced on page 37. 
 
 This extraordinary sum was the means of bringing to Christie's a great 
 number of portraits ascribed to Raeburn. Several of those offered on the 
 14th of July were beneath consideration, the work, no doubt, of some 
 contemporary or more recent Amico di Raeburn. Those that might with 
 reason be accepted as by Sir Henry were of varied quality, not one in my 
 opinion representing the Scotman's art in its greatest phase of expression. 
 None of them as a whole had the mastery qualities of, say, the " Mrs. 
 James Campbell," shown at the Japan-British Exhibition last year at 
 Shepherd's Bush, nor of the " MacNab " now in the International Exhibition 
 at Rome. From the head to the waist the portrait of " Lady Janet Traill" 
 (49 J by 39^), which, after an opening bid of 3,000 guineas, went to 
 Messrs. Duveen at 14,000 guineas, is of great charm, but the painting of 
 the dress has not the distinction which characterised the gown of the " Mrs. 
 Robertson Williamson " also acquired by the same firm. Lady Janet is 
 shown, seated in a typical Raeburn landscape, in a yellow dress, cut low at 
 the neck, and relieved by white. Powder pales her light brown hair, bound 
 by a blue ribbon, which forms a lovely note of colour. This portrait 
 resembles in style the splendid " Lady Alicia Stewart," which belongs to 
 Mrs. F. C. K. Fleishmann. The original, who was the daughter of the 
 tenth Earl of Caithness, was very popular in the Edinburgh society of 
 her day. In 1784 she married James Traill, of Hobbister and Rattar, 
 and died in Edinburgh, in 1806, about six years after the date of her 
 portrait, and was buried at Rosslyn Chapel. 
 
 Lady Janet's husband, James Traill, was an advocate and Sheriff of 
 the Counties of Caithness and Orkney. His portrait, which is one of the 
 most sensitive images of men ever painted by Raeburn, fetched 3,500 
 guineas (Colnaghi and Obach). These two canvases were the property 
 of Mr. James Christie Traill, and came from Castlehill House, Caithness. 
 
 Few artists were more favoured by nature, environment and circum- 
 stance than was Henry Raeburn. He was born with great gifts. In mind, 
 temperament and person he had all the elements that bring success. His 
 energy, mental and physical, was untiring ; his interests were numerous, 
 and splendid spirits and bodily strength enabled him to attend to each 
 and at the same time to the development of his art. If he went sketching 
 he took his fishing rod with him, for he was an " honest" and enthusiastic 
 
 liv. 
 
follower of Isaac Walton. When tired after a day's painting, golfing or 
 archery took him out to the fields and woodlands. In the evenings 
 mechanics occupied his thoughts, the mystery of perpetual motion engrossed 
 him ; or he made three-foot models of naval architecture. He had " a sort 
 of abstract love for the subtle science of law " ; tilled his garden and was 
 intimate with flowers. His knowledge of the planning and building of houses 
 was also practical, for in later years he laid out the land of Stockbridge and 
 designed the houses that formed most of its streets. Industry denotes the 
 man of action but not infrequently the Jack-of-all-trades masters none. It 
 was otherwise with Raeburn, as it was with some of the great men of the 
 Renaissance for example, Giotto, Leonardo, and Michael Angelo, who when 
 not painting pictures, were raising a campanile, a church, or a fortification ; 
 producing great statues or noble poetry. The young Scot's heart and brain 
 were pulsing with the blood which in earlier days found relief in war, family 
 or tribal feud or religious frenzy. It had to find vent in other forms of 
 action. If little drops now and again led him to investigate other 
 matters, the main flood stirred his artistic impulses, and he immortalised 
 the finest types of his country men and women — a Mrs. James, a Campbell, 
 a Macnab, a Sinclair, a Wardrop, of Torbanehill. 
 
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List of Pictures by Sir Henry Raeburn, R.A. 
 
 [In thi following List the initials R.A. stand for Royal Academy ; R.S.K., Royal Scottish Academy ; 
 N.G., National Gallery; N.P.G., National Portrait Gallery; S.N.G., Scottish National Gallery; 
 S.N.P.G., Scottish National Portrait Gallery ; C, Christie's ; R. & F., Robinson & Fisher.^ 
 
 Abercrombie, Dr. John (1780-1844). Physician and Author. Miss Abercrombie. 
 
 Abercromby, Alexander, son of George Abercromby, and brother of Sir Ralph Abercromby. Admitted 
 
 to the Faculty of Advocates in 1766 ; Sheriff of Stirlingshire and Senator of the College of Justice ; sat 
 
 on Court of Session bench as Lord Abercromby, 1792. In grey coat, with white vest and frill ; figure 
 
 turned to the right with arms folded ; head nearly full face. 29 x 24. Lord Abercromby. Agnew (c) 
 
 1911. 
 Abercromby, Alexander of Tullibody, Lord of Sessions ; 29J x 23f . The property of the Faculty of 
 
 Advocates, in Parliament House, Edinburgh. Painted 1789; engraved by J. Dawe. Seated, arms 
 
 folded ; head turned to right. 
 Abercromby, George, of Tullibody. " Old Tullibody," grandson of Alexander Abercromby, of Birkenbog, 
 
 and father of the celebrated Sir Ralph Abercromby. In green coat, red tartan vest, black breeches, 
 
 and high boots, grey wig ; seated in an armchair, with his hands clasped before him. 48J x 39. Lord 
 
 Abercromby, Mason (c) 1911. 
 Abercromby, Sir George, fourth Baronet of Birkenbog (1750-1831); 30 x 25. Engraved by T. Lupton. 
 
 Lady Abercromby. 
 Abercromby, Lady, 30 X 25. Lady Abercromby. 
 Abercromby, General Sir Robert, G.C.B. Son of George Abercromby, and brother of Sir Ralph Abercromby ; 
 
 served throughout the American War ; Governor and Commander-in-Chief at Bombay, 1790 ; Commander 
 
 of the Indian forces, and reduced Tippoo Sultan, 1792 ; Governor of Edinburgh Castle, 1801. In scarlet 
 
 military uniform ; wearing the Star of the Bath. 29 x 24J. Lord Abercromby, Gremetti (c) 1911. 
 Abercromby, Sir Robert, fifth Baronet (1784-1855). 30 x 25. Lady Abercromby. 
 Abinger, Lord. Engraved by William Walker. 
 Aboyne, Charles Gordon, Fourth Earl of. See Charles Gordon, 
 Aboyne, the Countess of. Lady iWary Douglas, daughter of James, fourteenth Earl of Morton, second 
 
 wife of the fourth Earl of Aboyne ; 40 x 50, Wallis & Son, 1910, 
 Adam, Dr. Alexander. Painted for fourteen of Dr. Adam's pupils of High School, Edinburgh, where it hung 
 
 until 1860, when it was presented to the National Gallery of Scotland by the survivors ; 49 x 39. 
 
 Engraved in mezzotint by C. Turner, 1809, and by S. Freeman. 
 Adam, Robert, architect. Seated, three-quarter length. Scottish National Exhibition, 1908. W, A. 
 
 Coats, Esq. 
 Adam, Mrs. Three-quarter length, seated. Scottish National Exhibition, 1908, W. A. Coats, Esq. 
 Adam, Mrs. Robert. Forbes & Paterson's Exhibition, 1901, 
 Adam, Right Hon. William, of Blair Adam. A friend of Sir Walter Scott, and founder of the Blair Adam 
 
 Club. Seated, in black coat with white neck cloth, resting his left hand on arm of chair; 41 x 50, 
 
 Mrs. .Mary Antrobus (R, & F,, 1901). Wallis & Son. 
 Adams, Mrs. Bust, white cap and collar, red shawl ; 30 x 25. .Mrs, Keddie ; Shepherd, 1908, Sir 
 
 Hickman B, Bacon. 
 Agnew, Andrew. Sir Andrew N. Agnew, Bart. Painted about 1791. 30 x 25. 
 
 Agnew, Sir Andrew, 7th Baronet, of Lochaw, Sir Andrew N. Agnew, Bart. Painted about 1816 30 x 25. 
 Alexander, Colonel, of Ballochmyle (1789-1845). Sir Claude Alexander, Bart, 
 Alison Rev. Archibald, LL.B., F.R.S., L. & E., Prebendary of Sarum, Rector of Roddington, etc, and Senior 
 
 Minister of St. Paul's Chapel, Edinburgh. Father of Sir Archibald Alison, the eminent historian and 
 
 lawyer. Three-quarter length ; engraved by Wm, Walker. Raeburn Exhibition, 1876. Raeburn family. 
 
 Lent to Glasgow International Exhibition by Sir John Stirling Maxwell, M,P. 
 Allan, Alexander, Esq., of Hillside, Edinburgh ; banker. In dark dress with white stock, holding a paper in 
 
 his left hand, seated at a table on which are some books ; 81 x 57J. Raeburn Exhibition, 1824, Raeburn 
 
 Exhibition, 1876. Major-Gen. Allan, of Hillside, Bidborough ; Sully (c) 1908. Colonel Allan, R,S,A., 1863. 
 
 Alex. Allan, Esq. 
 Allan, Col. R.S.A., 1863. Alex. Allan, Esq. 
 Allan Mrs., and child. Mrs. Allan (nee Ann Losh), wife of Alexander Allan, Esq., in crimson dress, and 
 
 crimson and white turban ; seated on a couch with her young daughter, Matilda, who is dressed in 
 
 white and holds a book; 81 x 57^. R. S, A,, 1863. Raeburn Exhibition, 1876. Lieut. -Col. William Allan. 
 
 Major-Gen, Allan, White (c) 1908. 
 Allan Robert, banker (1740-1818). Seated in armchair, in dark blue coat and breeches, holding a paper in 
 
 his hand. ' 50 X 38. Painted in 1800. On loan to Glasgow Art Gallery, 1908. Captain Percy S. Allan. 
 Allen of Errol (?). See " Two Boys." 
 Anderson, David (1750-1825), of St. Germains. 56 X 45. Captain D. M. Anderson, Dott & Co., Colnaghi&Co., 
 
 Dr. Eissler. 
 Anderson John, of Inchyra. Lent by Mrs. Anderson, of Dalhousie Grange, to Raeburn Exhibition, 1876. 
 Anderson Mrs,, of Inchyra {nee Mary Mitchelson) ; 35J X 26J. Half figure, seated to right in a crimson 
 
 chair head turned and looking at spectator, arms crossed in front ; white gown, yellow background. 
 
 Sir George Donaldson, R.A. , 1907. Engraved by J. Cother Webb, and published by Messrs, Gooden 
 
 and Fox. 
 Arbuthnot, Mrs. Engraved as " Isabel," by T. G, Appleton. 
 
 37 
 
LIST OF PlCrVRnS—conttnued. 
 
 Argyll, John, 7th Duke of (1777-1847). 93 x 59. International Exhibition, Glasgow, 1901. Duke of Argyll, K.T. 
 Armadale, Sir William Honyman, of Armadale, Lord of Session (1756-1825). Senator of the College of 
 
 Justice. Married, in 1777, Mary, eldest daughter of Robert Macqueen, Lord Braxfield. Painted about 
 
 1800. Lent tu Raeburn Exliibition, 1876, by Mrs. Catherine Dallas. 
 Austin, Hon. Mrs. (Hon. Anne Sempill*. Seated in a green garden chair; white cap, black shawl and dress, 
 
 showing white Kchu at neck; 48 X 39. R.S.A., 1863. The Baroness SempiU. Agnews, 1910. 
 
 Baillie, John. Half length, seated, pen in hand; 35 X 27J. Rev. W. Gordon BaiUie. 
 
 BaiUie, William, of Polkemmet, Lord of Session. In crimson robes with white bands, powdered wig. 
 
 29] X 241. Sir Andrew Agnew, Bart. Colnaghi & Co. (c) 1911. 
 Baillie, William, Lord Polkemmet. In red gown, white bands and white wig , seated, holding a scroll in 
 
 his right hand ; red curtain background. 51 x 39^. Lady Baillie, of Polkemmet. Agnew (c) 1911. 
 Baillie, .Mrs., second wife of Lord Polkemmet, and sister of Sir John Sinclair of L'Ibster. In white dress, 
 
 with blue striped sleeves ; pale green spotted shawl over her arms : powdered hair, with white ribbon; 
 
 seated on a bank, uith her hands resting on her lap ; landscape background. 51 ;■, 39J. Lady Baillie, 
 
 of Polkemmet. Tooth (c)1911. 
 Baird, General Sir David (1757-1S29). Engraved by T. Hodgetts. Lord Ronald Gower in his " Reminis- 
 cences " says there is no portrait of Sir David at Newburgh, the family seat, only prints after Raeburn's 
 
 fine full length portrait of him belonging to Lord Abercromby. Lord Abercromby, Crieff. Lenvgon (c) 
 
 1911. 
 Baird, Lady. Miss Preston Campbell, of Fern Tower and Lochlane, Perthshire, wife of General Sir David 
 
 Baird, Bart. In deep red dress, cut low at the neck and with short sleeves ; wearing a cloak of the 
 
 same colour, edged with brown fur, which she draws round her and holds together at her waist ; 
 
 standing to the right before a pillar and curtain background ; on the right her large black retriever dog 
 
 is springing up to welcome her : trees in the distance. 93J x 59. Lord Abercromby. Fielding (c) 1911. 
 Balfour, James (Jamie singing "Toddlin' Hame ' I, a well-known Jacobite who fought in the Rebellion of 
 
 1745. Three-quarter length. Painted for the Ltith Golfers' Hall ; and engraved by J. Jones. Raeburn 
 
 Exhibition, 1876. Colonel Babington. 
 Balfour, John. Publisher and bookseller in Edinburgh, son of James Balfour, Esq., of Pilrig, In blue coat 
 
 and vest with brass buttons ; white stock ; powdered wig. 29J x 24J. Mrs. Beith. Balfour (c) 1911. 
 Balfour, Mrs. John, Catherine, daughter of Mr. Cant, of Thurston and Giles Grange. In white dress and 
 
 flowered shawl, with a black scarf over her arms ; large mob cap : powdered hair. 29J X 24J. Exhibited 
 
 at the Grafton Gallei-y, 1895. .Mrs. Beith. Balfour (c) 1911. 
 Balfour, John, of Trenabil, Orkney. Brown coat and white stock ; about 30 x 25 . R. and F. 1903. 
 Balfour, Mrs. Jane Elliot, of Wolflee, branch of family of Earl of .\linto ; .M . in 1765 .Major Henry Balfour ol 
 
 the Lothian Regiment (the Royal Scots). Painted in 1810; 25 x 30. Wallis & Sons. W. D. Matthews, 
 
 Esq , Toronto, 1809. 
 Balfour, Mrs. ; 29x33. Japan-British Exhibition. Sir Julius C. \\'ernher, Bt. 
 Balfour, Mrs. 34 v 26. Sanderson. Colnaghi & Co. 1911. 
 Balfour, .Miss, of Pilrig. 
 Bannatyne, Sir William .Macleod, Lord of Session (1743-1833), 35 ■: 28. Lent to Raeburn Exhibition, 1876, 
 
 by Sir Daniel Macnee, P.R.S.A. W. .McEwen, Esq. 
 Barclay of Urie. Engraved by Beugo. 
 
 Barns. Sir James Stevenson. 30 x 25. James Hope, Esq. 
 Bedford, John, Sixth Duke of, three-quarter length. 50 x 40. Raeburn Exhibition, 1876, W. P. Adam, 
 
 of Blair Adam ; Paul Levoi sale {dit Leon Gauchez), Paris, 1907; lot 33. Photograph in catalogue. 
 Begbie, .Mrs., when a child {iiee Miss Eleanor Margaret Gibson Carmichael). Sir T. D. Gibson Carmichael. 
 Belhaven, Penelope, The Lady, wife of the seventh Baron of Belhaven, and daughter of Ronald Macdonald, of 
 
 Clanranald, died 1816 ; 35 x 27. Half figure seated, head turned slightly to left, arms crossed on her lap, 
 
 white dress open in front, short sleeves, the left looped up with pearl ornament ; landscape background. 
 
 J. H. .McFadden Esq., R.A., 1896, French Gallery, Edinburgh, 1909. Wallis & Son, 1910. 
 Bell, Dr. Benjamin (1749-1806), Author of " A System of Surgery." Engraved by Beugo and Wra. \\'alker. 
 Bell, .Mrs Catherine ; unfinished. Sir E, Vincent, K.C.M G. 
 Bell, G. J. (1770-1843), Scots Professor, Edinburgh University. 30 x 25. Author of Commentaries on Scots 
 
 Law. Glasgow International Exhibition, 1901. Wallis & Son, 1910. Hon. E. Charteris. 
 Bell, G. J. 49i X 39. Raeburn Exhibition, 1876 ; Faculty of Advocates, Edinburgh, 
 Bell, Mrs. {nee Barbara Shaw), wife of Prof, Bell; 30 x 35. Lent to Glasgow International Exhibition. 
 
 1901, by T. Jeffrey Bell, Esq. 
 Bell, .Mrs, (nie Eleanore Jane Ross), wife of Robert Bell. Painted in lSOl-2 ; 50 x 40. Agnew, 1906 (c). 
 Bell, .Mrs, sister of Dr. Hamilton. RS.A. , 1880. 
 Bell, Robert (1782-1861), Advocate, Sheriff of Berwickshire. 30 •: 25. Lent to Raeburn Exhibition, 1876, 
 
 by Lord Moncrieff, of TuUibole. Trustees of late Lord .Moncriefl'. 
 Bell, Mrs. Robert. 30 x 25. Trustees of late Lord Moncrieff. 
 Berkeley, Miss; 25 x 25 Heyman, New Bond Street, 
 Bethunc, .Mrs., in black dress. Lesser, 1890 (c). 
 Binning, Portrait of the two sons of David .Monro Binning, Esq., in plum brown dresses with white ruft's and 
 
 stockings, seated in a landscape; 50 x 40. (c) 1811. Agnew, 1902 (c). 
 Bisland, .Master Thomas, afterwards Rector of Hartley Mandit ; married .Miss C. Gibson, daughter of the 
 Rev. T. G. Gibson, r;ctor of Holybourne, Hants; In green dress, with loose white frdled collar; 
 seated on a bank, turning his head to the left, resting his right hand upon his knee, and holding his cap 
 in his left hand. Foliage and landscape background; 56^x44. On the death of Mrs. Bisland (Mrs. 
 Leach by second marriage) this picture was left by will tolhe mother of .Major H. P. Treeby, of Willow 
 Grange, Worpledon, Surrey. Agnew, 1909 (c). Messrs. Knoedler, New York. 
 Black, John, M.D., of Kirkaldy. Raeburn Exhibition, 1876, 
 
 38 
 
LIST OF PICTURES— continued. 
 
 Black, Dr. J. Full length, seated ; looking at spectator, white wig ; 50x40. Engraved by Heath. Reproduced 
 
 in " Fifty Portraits of Racburn," 1909, edited by Mr. J.L.Caw. Wallis&Son. Sir George Warrender, Bart. 
 
 Blair, Anne, of Avontoun, wife of A. Maconochie Welwood (second Lord Meadowbanii). Glasgow 
 
 International Exhibition, 1901. E. A. Maconochie Welwood, Esq. 
 Blair, Dr. Hugh (1718-1800). Celebrated Scottish divine. Professor of Rhetoric at Edinburgh University ; 
 three-quarter length, seated, gown, white wig, looks to right. Engraved by Bartolozzi. Ratburn 
 Exhibition, 1876. Henry Temple Blair, Esq., of Avontoun. 
 Blair, Lord President Robert, of Avontoun (1741-1811). Raeburn Exhibition, 1876, W. S. Society, Edinburgh. 
 
 Painted in May, 1811 ; engraved by J. Heath. There is another portrait of Lord Blair. 
 Blair, Master William, of Avontoun, son of Lord President Blair; passed advocate 1821 : died 1873. Raeburn 
 
 Exhibition 1876. Miss Cornelia Blair, Scotstoun. Painted about 1814, 
 Bonar, Alexander. Originally a three-quarter length, this portrait was cut down to its present size because 
 the figure and background were not by Raeburn ; 30 x 25. Presented to Scottish National Gallery by 
 his grand-daughter. Miss S. A. Fleming, Edinburgh, in fulfilment of the wish of her brother, Mr. 
 Alexander Bonar Fleming, of Hilhvood, Corstorphine, 1900. 
 Bonar, Mrs. Miss Sarah M'Call, daughter of John M'Call, of Glasgow, and wife of Alexander Bonar, of 
 Ratho. Bust, middle aged ; she wears a black gown, a white fichu, and a white muslin cap, from under 
 which her brown hair hangs in curls on each side of her brow ; 30 x 25. Like the companion portrait of 
 Mr. Bonar, this was originally a three-quarter length, and was cut to its present size for a similar 
 reason. The canvas is under an oval slip. Presented to Scottish National Gallery by her grand-daughter, 
 Miss S. A. Fleming, Edinburgh, in fulfilment of the wish of her brother, Mr. Alexander Bonar Fleming, 
 of Hilhvood, Corstorphine, 1900. 
 Bonar, The Children ; 82 x 55. Eraser (c) 1901. 
 
 Bonar, John Andrew Macdonnel, of Kimmingham and Warriston. Painted in 1820. Seated in an arm chair, 
 turned to the right, looking at spectator ; arms rest on the arms of the chair. Three-quarter length, life 
 size ; 49J x 39J. Sedelmeyer, 1905. M. Kann sale, June 9, 1911. 
 Boothby, Sir Brooke, Seventh Bart., author of " Fables and Satires " ; died 1824, 30 x 25. R,S,A., 1863. 
 
 Raeburn Exhibition. James T. Gibson-Craig, Esq. Lord Melville, Melville Castle. 
 Boswall, Thomas, of Blackadder. Lent to Raeburn Exhibition, 1876, by Sir George A. F. Houston Boswall, 
 
 Bart. Painted about 1822. 
 Boswall, Mrs., of Blackadder. Lent to Raeburn Exhibition, by Sir George A. F. Houston Boswall, Bart. 
 
 Painted about 1822. 
 Boswell, Mrs. Irvine J., of Kingussie. Margaret, daughter of Mr. Christie, of Durie ; 30x25. Painted 
 
 about 1820. Engraved by Norman Hirst. Wallis & Son. Col. Walter Brown, of Renfrew. 
 Bouhl, Miss. A. E. Huntingdon, Esq., America. 
 
 Bower, Miss ; 30 x 25. A. G. Murray, Esq. Blair (e) 1905. Mr. H. E. Huntingdon, America. 
 Boy with Cherry ; 29 X 24J. (c) 1908. 
 Boy in Green Coat ; 29 x 24. Marler (c) 1904. 
 Boy in red coat, white vest and lace collar; member of the Russell family (Duke of Bedford); 11 x 10. 
 
 Heyman. 
 Boy, A Little. Cunliffe Brooks, Esq. B/I. 1901. (Phillips). 
 Boy, A. 
 
 Boy, A. Forbes and Paterson's Exhibition, 1901. 
 Boy and Rabbit. Full length, seated ; 41 x 31. Diploma Gallery. 
 
 Boyle, Lord President David, 1772-1853. Painted when Lord Justice Clerk. Earl of Glasgow. 
 Boys, Two. Supposed to be members of the family of Allen, of Errol. Dressed in brown and buff, standing 
 in a landscape; 60 x 45. Birmingham Art Gallery, 1903. Century of Art Exhibition, 1911. Leopold 
 Hirsch, Esq. 
 Braidwood, William, first manager of Caledonian Insurance Co. Lent by the directors of the Caledonian 
 
 Insurance Co. to Raeburn Exhibition, 1876. 30 x 25. Painted about 1819. 
 Braxfield, Lord Justice Clerk. Robert Macqueen suggested "Weir of Hermiston " in Stevenson's novel. 
 
 Three-quarter length ; seated ; hands clasped in lap ; wig ; 35 x 265. Engraved by C. Dawe. 
 Braxfield, Lord Justice Clerk. In official robes. In Parliament House, Edinburgh. The property of Faculty 
 
 of Advocates. Painted after 1819. Engraved by D. Lizars. 
 Breadalbane. The first Marquis of. The Hon. Mrs. Baillie Hamilton. 
 Bremner, James, first President of Society of Solicitors before the Supreme Court ; died 1826. Lent to 
 
 Raeburn E.xhibition, 1876, by S.S.C. Society, Edinburgh. 
 Brewster, Sir David, D.C.L. (1781-1868). Principal of Edinburgh University, 1860 ; invented polyxonal 
 lens for lighthouses, the kaleidoscope and lenticular stereoscope. Author of several books on science. 
 Engraved by W. Hall. Raeburn Exhibition, 1876. Raeburn family. 
 Brown, Miss Isabella ; 29 x 24. 1903 (c) Colnaghi & Co. Knoedler & Co, 
 
 Brown, John, of Westernhaugh ; 50 x 40. Fischoff Blahensen sale. New York, March 10, 1900. Curtis. 
 Brown, Mrs. John ; 38J x 49. Miss Brown, 1898 (Dowells, Edinburgh). 
 Brown, Robert. Engraved by W. H. Lizars. H. Brown, Esq. 
 Bruce, Lady Christian. W. J. Hay, Esq., Duns Castle. 
 Bruce, James, historiographer. 
 Bruce, John. Engraved by E. Mitchell. 
 
 Bruce, Robert of Kennet, as a youth, afterwards M.P. (1795-1864) for Clackmannan. His son, Alexander 
 Hugh, became Lord Balfour of Burleigh by the removal of the Attainder. Lord Balfour of Burleigh, K.T. 
 Raeburn Exhibition, 1876 ; Glasgow International Exhibition, 1901. 
 Bruce, Colonel Robert, (?) Mrs, R, T. Hamilton Bruce. 
 Buehan, David Steuart, Eleventh Earl ot ; 29J x 27. Exhibition of Raeburn's works, 1876, National Gallery of 
 
 Ireland. Reproduced in the Edinburgh edition of Lockhart's " Lite of Sir Walter Seott, Bart.," 1902. 
 Buehan, Robert. Lent to Raeburn Exhibition, 1876, by Buchan's niece, Mrs. Henderson. Painted about 1823. 
 
 39 
 
LIST OF PICTV RES— continued. 
 
 Buchanan, Geoi-j;e, the poet. (See letters, pages 42-3). 
 
 Buchanan, Rev. Walter, D.O., of Canongate, Edinburgh; died 1832. Lent to Raeburn Exhibition by Robert 
 
 Foulis, Esq., M.D. 
 Buchanan, Mrs. Lent by Robert Foulis, Esq., M.D., to Raeburn Exhibition, 1876. 
 Buchanan, Mrs. {tiie Murray Kynynmond Edmonstone), wife of John Buchanan, of Arnprior. Lent to 
 
 Raeburn E.xhibition, 1876, by J. Buchanan Baillie Hamilton, Esq. Painted before 1808. 
 Burns, the Poet. 23 x 19. Painted in 1803 after Nasmyth's portrait, to the commission of Messrs. 
 
 Cadcll & Davies, publishers of the first London edition of the poet's works conjointly with Creech, of 
 
 Edinburgh. The holograph letter of Raeburn relating to this portrait is printed in the text. 
 Burns, the Poet. 50 x 40. Copy of above. Painted for James, Earl of Glencairn, Coates House, Edinburgh. 
 Burrell, Capt. David, In uniform of East India Company. Three-quarter length; arms folded; 50x40. 
 
 John A. Holms, Esq. 
 Bute, John Crichton Steuart, Marquis of. Painted about 1820. Engraved by Ward. Marquis of Bute. 
 Byres, James, of Tonley, who was an eminent antiquarian and resided many years in Rome, where he 
 
 discovered the famous Barberini or Portland vase, which is now in the British Museum. Author of 
 
 " Hypoga:i." This portrait was painted when he was 77 years of age; 30 x 25. R.A., 1904. Scottish 
 
 National Exhibition, 1908. D. Scott Moncrieff, Esq. Wallis & Son, 1910. 
 
 Cadell, William, of Banton. (c) 1810, 
 
 Calderwood, Mrs. 30 x 24. Raeburn Exhibition, 1876, 
 
 Cameron, Ur. George, when a boy. 
 
 Cameron, D\-. George ; 28J x 23. Maclean, 1906 (c). 
 
 Campbell, ol' ParU. Raeburn Exhibition, 1876. G. Maclachlan, Esq. 
 
 Campbell, father of Robert N. Campbell, of Kailzie. G. Maclachlan, Esq. Raeburn Exhibition, 1876. 
 
 Campbell, Alexander, of Hallyards. Merchant, Glasgow. Bust portrait, looking to left, in bottle green coat, 
 
 yellow vest, and white neckcloth ; 29 x 24. Deposited by Glasgow Highland Society, 1903, to Glasgow 
 
 Corporation Gallery. 
 Campbell, Mrs. Anne, second daughter of Thomas Campbell, Esq., of Tomperan, Perthshire, and wife of Colin 
 
 Campbell, of Park, Renfrewshire; in black dress and bonnet, with white shawl over her shoulders; 
 
 30 X 25. Raeburn Exhibition, Edinburgh, 1876. Dowdeswell, 1898. 
 Campbell, Colin, of Park. Raeburn Exhibition, 1876, G. Maclachlan, Esq. 
 Campbell, Mrs. Colin, of Park, Raeburn Exhibition, 1876. G. Maclachlan, Esq. 
 Campbell, Sir Duncan, of Barcaldine and Glenure. In uniform of 3rd Guards (Scots Fusilier Guards). Sir 
 
 Duncan Campbell of Barcaldine. 
 Campbell, Lord Frederick, son of fourth Duke of Argyll. Lord Clerk Register; founded Register House, 
 
 Edinburgh ; 93 x 59. Engraved by J. Heath, General Register House. 
 Campbell, General, of Loch Nell. Engraved by J. B. Bird. R'SA., 1863, Duke of Argyll. 
 Campbell, General, of LoehNell. In scarlet coat and buff breeches, his arms crossed, holding his bearskin 
 
 hat in his right hand ; standing in a landscape under some trees. Painted when an officer in the Guards, 
 
 48 X 39. Sir Rodney Stewart Riddell, Bart. Agnew (c) 1911. 
 Campbell, Rev. George, D,D., Minister of Cupar; distinguished as a preacher and author: was the father 
 
 of Lord Chancellor Campbell, died 1825, Bust to left, looking at spectator; black gown and white 
 
 bands; dark background; 29 x 24. A. G, Campbell, Esq. R,A., 1907. 
 Campbell, Lady Hume, of Maichmont, and child. Full length ; the lady seated in a red covered chair to the 
 
 right, holds her half naked child ; 79 x 60. Painted in 1813. Bequeathed to Scottish National Gallery, 
 
 by her son, Sir Hugh Hume Campbell, of xMarchmont, Bait, 1894. 
 Campbell, Mrs. James. Alarion, daughter of John Muirhead, of Croy Leeliie, Killearn, Stirlingshire; born 
 
 1739, married James Campbell, of Glasgow; died 1815. She was lirst cousin of James Watt, the 
 
 engineer ; 30 x 25. Lionel B. C. Muirhead. Cent Portraits des Femmes, Paris, 1909. Japan-British 
 
 Exhibition, 1910, etc. 
 Campbell, Sir John. Painted about 1795. (?) Miss Halkett. 
 Campbell. John, portrait of, of the Bank of Scotland, Edinburgh. In brown dress with deep roll collar : 
 
 white stock and vest. 29 X 24J (c) 1911. 
 Campbell, John, of Clathick. Mrs."Atherton. 
 Campbell, John, of Kilberry (1760-1838). Three-quarter length, standing; dark greycoat, yellow waistcoat 
 
 and trousers ; right hand in yellow glove, holding stick and hat; thumb of left hand in trouser pocket ; 
 
 50 X 40. Wallis & Son, 1910, 
 Campbell, Mrs. John, of Kilberry, daughter of William Rankine, of Dudhope, Three-quarter length, 
 
 standing in a landscape ; black hair, white dress, right hand holding yellow shawl ; left hand resting on 
 
 branch of tree. 50 x 40. Wallis & Son, 1910. 
 Campbell, John, of Saddell, when a child, 1726-1823. Full length, seated. Agnew. 
 Campbell, John, of Saddell, 39 x 49. Rear-Admiral C. Campbell, 1902 (Fosters), Bought in. 
 Campbell, John, sen,, G. Maclachlan, Esq,, Raeburn Exhibition, 1876. 
 Campbell, Miss Lilias, of Inverawe, Argyleshire, seated in a landscape, leaning against a tree, her hands 
 
 folded, in white dress, mauve sash, and powdered hair; 29 x 24. A. C. Thornhill, Esq, 1902 (R. and F). 
 
 Wallis & Son. 
 Campbell, Mrs. Louise. 
 
 Campbell, Miss Margaret, 47i x 39. Lawrie & Co., 1905. 
 Campbell, Miss. Scottish National Exhibition, 1908. J. J. Mowbray, Esq. 
 Campbell, Mrs., sen. G. Maclachlan. Raeburn Exhibition, 1876. 
 Campbell, Mrs. 29 x 24. 1901 (c) Colnaghi & Co. Dowdeswell. 
 Campbell, Mrs. Elderly lady, half figure, seated, dark dress, white fichu, patterned white shawl, white satin 
 
 cap, hands gloved. 30x25. M. Kann. Sale 9 June, 1911. 
 Campbell, Mrs., of Hallyards, seated three-quarter length, A. R, Don, Esq., Broughty Ferry. 
 
 40 
 
LIST OF PICTURES— (;o«hVi««(i. 
 
 Campbell, Alex. ; 29 X 24. Agnew, 1902. 
 
 Campbell, Colonel Alexander, of Possil. Mrs. Atherton. Raeburn Exhibition 187fi. G. Maclachlan, Esq. 
 
 Campbell, Mrs. Ale.vander, of Possil. Half length, to right ; face almost full. Raeburn Exhibition, 1876. 
 
 G. Maclachlan, Esq. Mrs. Atherton, 
 Campbell, Mrs., of Ballimore. Miss Christina Lamond Drummond, wife of Colonel Dougald Campbell, of 
 
 Ballimore, An elderly lady, seen three-quarter length, seated to the right in a green garden seat, 
 
 beneath a grey tree trunk and russet foliage, in white dress with an overgown of greenish grey, and 
 
 blacli shoulder cape, the ends of which fall in front, one hand is gloved in grey ; her eyes are brown, 
 
 and on her grey hair is a white kerchief; 50 X 40. Painted about 1795. Bequeathed to National 
 Gallery of Scotland by Lady Riddell, 1897. Photographed by Annan. 
 Campbell, Mrs. and Son. 30 x 25. Gooden & Fox. 
 Campbell, Mungo Nutter Campbell, of Ballimore. 
 Carlisle, Mr. 36 x 28. Bonner Sale, New York. 
 Carlisle, Mrs. 36 x 28. Bonner Sale, New York, 1900. LafTan. 
 Carmichacl, Eleanor Margaret Gibson, as a child, in a landscape, wife of Mr. Begbie, and daughter of Sir 
 
 John Gibson-Carmichael 6th Baronet ; 46J x 36|. Sir T. D. Gibson-Carmichael. Shown at Colnaghi & 
 
 Co.'s Gallery, 1905. 
 Carmichacl, Miss Eleanor. Replica of foregoing. 30 x 25 
 Carmichael, Sir John Gibson, Forbes and Paterson's Exhibition, 1901. 
 Carmichacl, Lady, lire Janet Maitland-Dundas, wife of Sir Thomas Gibson-Carmichael, seventh Baronet; 
 
 30x25, Sir T. D, Gibson-Carmichael, Shown at Colnaghi & Co, 's Gallery, 1905, Engraved by H. Scott 
 
 Bridgwater. 
 Carmichael, Sir Thomas Gibson-Carmichael, seventh Baronet, of Skirling. 30 x 25. 
 Carnegie, Lady Agnes. Painted about 1810. 
 Carnegie, David. 
 Carnegie, Lady. Full length ; standing, leaning against tree in landscape, with water ; 96 x 59, Earl of 
 
 Southesk, K.T. 
 Carnegie, Lady ; 50 X 40 (c) 1810. 
 Cathcart, Master, and Dog. Agnew. 
 
 Cathcart, Robert of Drum, W, S. Painted about 1813, Engraved by C. Turner. L, Hirsch, Esq. 
 Cay, Mrs, John, nee Frances Hodshon, wife of John Cay, Esq., of North Charlton, mother of Judge Cay. 
 
 In brown dress with white fichu, and yellow shawl ; powdered hair; seated in a red chair, holding a book 
 
 and her pince-nez ; 34J X 26J. Raeburn Exhibition, 1876. Agnew, 1910 (c!. 
 Cay, Sir Robert Hodshon, of North Charlton, Judge of Admir.Tlty Court. In dark dress, scarlet gown, bands 
 
 and wig, and holding papers in his right hand; 49x39, Raeburn Exhibition, 1876. Colnaghi & Co,, 
 
 1910 (c). Messrs. Knoedler, New York. 
 Chalmers, George, of Pittencrieff. Full length, seated by window showing view of Dunfermline Abbey. 
 
 Painted 1776. Lent to Raeburn Exhibition in 1876 by Dunfermline Town Council. 
 Chalmers, Mrs., of Gadgirth, in white dress with yellow shawl, white lace cap with blue riband ; 30 x 25. 
 
 Partington, 1902. 
 Charteris. (See Elcho), 
 Chantrey, Sir Francis, R.A. Three profile sketches ; the head in each case turned towards the left. 
 
 Inscribed, F. Chantrey, R.A, Sketched by H. Raeburn in Princes Street, Edinburgh, 1818, W. C. 
 
 (Pencil ; paper 6,| X lOf). On the other side of the paper is a sketch of Raeburn by Cliantrey, done at 
 
 the same time. Formerly In the possession of Wilkie Collins the novelist. Presented to Scottish 
 
 National Portrait Gallery by C. Fairfax Murray, Esq,, 1901. 
 Chantrey, Sir F. Half length, body to right, face almost full; 36 x 28. Engraved by J, Thomson. Col. 
 
 Walter Brown 
 Cleghorn, Dr. Glasgow Royal Asylum. 
 
 Cleghorn, Dr. Glasgow International Exhibition in 1901. Robert M. Mann, Esq. 
 Cleghorn, Miss; 25 x 30. WaUIs & Son. 
 
 Clephane, Major-Gencral Douglas McLean. Forbes and Paterson's Exhibition, 1901, 
 Clephane, Mrs. McLean. 
 Clerk, John, father of Lord Eldin. Author of " Essay on Naval Tactics" and Inventor of naval tactics of 
 
 breaking the enemy's line, employed by Rodney's fleet in the West Indies In 1782. Died 1812. Raeburn 
 
 Exhibition, 1876. Sir G. D. Clerk. 
 Clerk, John, Advocate, afterwards Lord Eldin, an earlier portrait than the following. Raeburn Exhibition, 
 
 1876. Sir G. D. Clerk, Bart. 
 Clerk, John. Nearly whole length to right ; seated at table on which he rests a book, beside a " Crouching 
 
 Venus." Engraved by C. Turner, 1815. Raeburn Exhibition. Sir G. D. Clerk, Bart. 
 Clerk, Sir John, fifth Baronet of Penicuik, and Rosemary Dacre, his wife, in a landscape ; 57 x 82. Painted 
 
 about 1790. R.A. 1910. Sir George D. Clerk. Otto Beit, Esq, (The Morning- Chronicle of May 31, 
 
 1792, says that this picture arrived too late for the Royal Academy, and was exhibited in the Shakespeare 
 
 Gallery Instead). 
 Clerk, Mrs. Isabella. See Wedderburn. 
 Clunes, Major William. Native of Sutherlandshire ; Colonel of the Sutherland Fencibles, Aide-de-camp in 
 
 India to Sir Hector Munro, and Captain (1809) in the 50th Regiment. He served in the Peninsular War. 
 
 Full length, in scarlet tunic with stand-up collar and stock ; lace ruffle at the neck ; fur-trimmed military 
 
 cloak, dark grey breeches and Hessian boots ; stands with head turned slightly to the right, looking 
 
 straight out. The right hand Is at the waist, and the left rests upon the back of the chestnut coloured 
 
 charger, which, with flanks turned towards the spectator, occupies the right. Conventional landscape 
 
 background, with tree trunk crossing the sky from left to right. Light falls from the right front; 
 
 96 x 60. Bequeathed to the Royal Scottish Academy by Lady Siemens, 1902. Scottish National 
 
 Gallery. 
 
 41 
 
LIST OF PICTVRES— continued. 
 
 Cochrane, Mrs. Miniature. Miss Cochrane. 
 
 Cockburn, Henry, Lord (1779-1854). Born Edinburgh, educated High School and University. Solicitor- 
 General, 1830; Lord Rector Glasgow University, 1831, raised to the Bench, 1834. Contributor to 
 
 Edinburgh Rcvicni and author of "Memorials" of his times. Engraved by R. Bell, and W. Walker. 
 
 Raeburn Exhibition, 1876. 
 Colquhoun, Sheriff Archibald Campbell. Exhibited Glasgow, 1863. 
 Colt, Robert, of Auldhame, Haddingtonshire, and Lady (Miss Dundas). Lent to Raeburn Exhibition by 
 
 Mrs. Jane Colt, sen., of Gartsherric. 
 Colville, General. Engraved by Payne. (?) Lord Colville of Culross. 
 
 Compton, Lady, Marchioness of Northampton. 50 X 40. Marquis of Northampton. Painted about 1814. 
 Compton, Lady. Replica. 
 
 Compton, Eari, Marquis of Northampton. Marquis of Northampton. 
 Constable, Archibald. Publishers of Edinburgh Review and Scott's Novels. Painted about 1822; 50 x 40. 
 
 Engraved by Payne. Raeburn Exhibition, 1876. Thomas Constable, Esq., Queen's Printer. Christie's 
 
 1904, Moray. There is also a sketch of Constable. 
 Contemplation. See Mrs. Johnstone. 
 Copeland, Jacobina, of CoUieston, Dumfries-shire, 'Wife of Sir William Dunbar, sixth Baronet of Mochrum, 
 
 Wigtonshire. The Copelands claimed descent from the English Squire, John Copeland, who took David 
 
 II., King of Scots, prisoner at the battle of Durham or Deville's Cross, 17th October, 1346; 30x25. 
 
 Agnew, 1903. 
 Cowley, J., R.A., 1816. 
 Cowlishaw, The Brothers, the Young Fishermen. The young boys are depicted, one with a rod, the other with 
 
 a landing net, starting for a days Hshing, on the banks of a Scotch Loch. 40 x 35. Mr. Heyman, 180 
 
 New Bond St. W. 
 Craig, Sir James Gibson, Bart., of Riccarton, Midlothian (1765-1850). Engraved by R. Bell. 
 
 Exhibition. Sir W. Gibson-Craig, Bart. 
 Craig, Lady Gibson. Raeburn Exhibition, 1876. Sir W. Gibson-Craig, Bart. 
 Craig, Mrs. Raeburn E.xhibition. Rev. John Weir. 
 Craig, William. Lord of Session, Senator of the College of Justice; died 1813. Painted about 1810. 
 
 Exhibition, 1876. Andrew Hay \^'ilson, Esq. Faculty of advocates, Edinburgh. 
 Craig, Sir W. Gibson, second Baronet (1797-1878). Lord Clerk Register, and Keeper of the Signet ; 
 
 Edinburgh. Painted about 1818. Raeburn Exhibition, 1876. Sir W. Gibson-Craig. 
 Craigie, Dr. Half length, seated. Messrs. Knoedler, New York. 
 Craigie-Halkett, (See Halkett). 
 Crawford, Captain James. J. C. Crawford, Esq. 
 
 Crawford, Mr., merchant, Glasgow. Raeburn Exhibition, 1876, the Lord Justice General. 
 Crawford, Mrs. Patrick George. Lent to Scottish Exhibition, Glasgow, by Mrs. J. G. Ure. 
 Creech, William, Publisher. Engraved by W. and D. Lizars, as frontispiece to " Edinburgh Fugitive 
 
 Pieces." Mrs. Watson. 
 Crichton, Lady Elizabeth Penelope, with her mother, Countess of Dumfries. 
 
 the earldom of Dumfries in 1803, and became Marquis of Bute in 1814. 
 
 landscape; 94J x 58J. Reproduced in "Fifty Portraits of Raeburn,' 
 
 .Marquis of Bute. 
 Crombie, Mrs Mrs. Paul, Edinburgh. 
 Cruikshank, James, the astronomer. Seated, turned to right, looking at spectator, his left arm resting on 
 
 the back of his chair. Black coat, white necktie and buckskin trousers. Nearly full length , 49J X 39J. 
 
 Exhibited in Berlin, 1903, Sedelmeyer, 1905. M. Kann. 
 Cruikshank, Mrs. Three-quarter length, seated ; fur-lined cloak, white dress, white collar ; large hat in 
 
 right hand. Arthur Sanderson, Esq. J. A. Holmes, Esq, 
 Cumming, Miss. Mr. Callander, of Ruston Park. 
 Camming, Mrs. Raeburn Exhibition, 1824. 
 Cuninghame, of Fairlie. J. C. Cunningham, Esq. 
 Cuninghame, John, of Craigends. J. C. Cunningham, Esq. 
 Cunningham, Alexander. J. C. Cunningham, Esq. 
 Curran, J.P, 30 x 25. Ehrich sale. New York, 1906. 
 
 Raeburn 
 
 Raeburn 
 M.P, for 
 
 Her elder son, John, inherited 
 
 In flowing robes walking in a 
 
 Raeburn Exhibition, 1876. 
 
 Dalrymple, Lady, of Hailes. 29.J ,x 24J. Bust, white cap, white dress, short black coat. Salting Bequest, 
 National Gallery. 
 
 Dalrymple, Elizabeth. (See Leith). 
 
 Dalzel, Rev. Professor Andrew, F.R.S., an eminent scholar. Born 1742, at Kirkliston. He was educated at 
 Edinburgh University, and travelled as tutor to Lord Maitland, afterwards Earl of Lauderdale, 
 Professor of Greek in the University of Edinburgh. Principal clerk to the General Assembly of the 
 Church of Scotland. Died 1806. Three-quarter length, seated to right in red covered chair ; right hand 
 holds calf bound book on right knee, left arm rests on chair back; black dress and professor's gown, 
 white cravat; white hair; yellowish-brown eyebrows, dark blue eyes, shaven face; books on green 
 covered table to left; dark greenish background; 49,V x 39, Engraved bv R, C. Bell, in Dalzel's 
 " History of the University of Edinburgh," 1862, From the collection of J, T. Gibson-Craig, Esq., who 
 acquired the portrait at the Raeburn Sale on May 7, 1877. Purchased April, 1887, for S.N.P.G, 
 
 Davidson, Rev. Thomas, D,D., of Wuirhousc; died 1827. Raeburn Exhibition, 1876. Mr, Davidson, of Muirhouse, 
 
 Deans, Admiral Robert; 36 x 28, Half length to waist, in uniform, right hand resting on telescope, left 
 hand not seen, face turned to right; stormy sky and sea. Shepherd Bros,, Melbourne National Art 
 Gallery. The uniform is not that of an Admiral, and as Deans was not gazetted Admiral until February 
 14th, 1799, it must have been painted before that date. Very little is known of the Admiral and his 
 exploits. The Gentleman's Magazine simply records the fact that be was Admiral of the White, and 
 
 42 
 
LIST OF PICTURES— cOHi!)ii(crf. 
 
 that he died at his seat at Huntingdon, N,B., in January, 1815. The portrait, with that of his wife, 
 
 remained in the possession of the family until quite recently. That of the latter was on view at Messrs. 
 
 Shepherd's last year, but was sold some time since. 
 Deans, Mrs., wife of Admiral Deans (1756-1823). Three-quarter length, seated. Brown curly hair, white 
 
 head-dress; white gown, red shawl ; left arm rests on back of chair, right hand lies in her lap ; 36 x 28. 
 
 Painted about 1800. Messrs. Shepherd. 
 Deuchar, David, of Morningside (Miniature). To Raeburn Exhibition, 1876. Miss Deuchar. 
 Dickie, William (copy). Caledonian Insurance Co. 
 Dickson, The Rev. Dr., of Leith ; 27} x 36. E. Schulte, of Berlin. 
 
 Dickson, The Rev. Dr., of Leith. Engraved by C. Turner. Kirk Session, of South Leith. 
 Dog. Study of a. Exhibition of artist's worl<s, Edinburgh, 1876. 
 
 Dougal, Mr., of Castle Temple, with dog ; 35 x 45^. Charles Hosmer, Esq., of Montreal. 
 Douglas, Lord. Earl of Home. 
 Douglas, Mrs. (See Elizabeth Graham). 
 Douglas, Margaret, of Brigton, afterwards Mrs. Hunter, of Burnside ; 35 x 26J. Seated, three-quarter 
 
 length, life-size, in a landscape ; turned to left and looking in same direction. Powdered curly hair. 
 
 Low white dress, with blue waistband ; her hands folded in her lap. Purchased from the family. 
 
 Sedelmeyer (1905). 'VVallis & Son, 1910. 
 Douglas, Rev. Robert, D.D., of Galashiels; died 1820. Painted about 1813. Raeburn Exhibition, 1876. 
 
 Miss Thomson. 
 Drummond, General Andrew John, of Strathallan ; 29 x 24|. Third son of James, fifth 'Viscount Strathallan. 
 
 In scarlet uniform, with purple facings and gold epaulettes ; white stock. Ex. Earl of Perth. Christie's, 
 
 1910. Colnaghi & Co. Messrs. Knoedler, New York. 
 Drummond, General, of Machanay. Painted about 1817. Lent to Raeburn Exhibtion, 1876, by J. Buchanan 
 
 BaiUie Hamilton, Esq., of Arnprior and Cambusmore. 
 Drummond, George, his sister Margaret, and his foster brother. George Drummond, Esq. 
 Drummond, Harley. Raeburn Exhibition. T. Macknight Crawford, Esq., of Cartsburn. 
 Drummond, Henry Home. Col. Home Drummond. 
 Drummond, Mrs. Home, of Blair Drummond. 34^ •: 27. Engraved in mezzotint by H. Scott Bridgwater, 
 
 R.A., 1908. Lieut. -Col. Home Drummond. 
 Drummond, Captain J. R., R.N. Raeburn Exhibition, 1876. Sir J. H. Williams Drummond. 
 Drummond, Lady, of Hawthorndcn, wife of Capt. John Forbes-Drummond, who was created a baronet in 
 
 1826 for distinguished naval service. Raeburn Exhibition, 1876. Sir James H. Williams Drummond, of 
 
 Hawthorndcn. 
 Duff, Captain, afterwards Admiral Norwich ; 34J x 27. Painted about 1822. Engraved by G. Dawe, 1810. 
 
 E. Alexander Duff, Esq. 
 Duff, Colonel and wife. (R. & F.), 1895. Messrs. Colnaghi & Co. M. Th Duret, Paris 
 Duff, Mrs., wife of Colonel Duff, of Fetteresso, several members of whose family were painted by Raeburn ; 
 
 30 X 25. Birmingham Art Gallery, 1903, Leopold Hirsch, Esq. 
 Duff, Mrs. 50 x 40. Sir J. B. Robinson. 
 Duff, wife of General. Lesser (R. & F.), 1895. 
 Dudgeon, Miss or Mrs. Full length. National Gallery. 
 Dumfries, Margaret Crawford, Countess of (with her daughter. Lady Elizabeth Penelope Crichton, see 
 
 Crichton). 
 Dumfries, Patrick Macdowal, fifth Earl of, with Flora. Countess of Loudan. Raeburn Exhibition, 1876. 
 
 Marquis of Bute. 
 Dunbar, Sir Archibald. Glasgow International, 1901. Sir .Archibald H. Dunbar. 
 Duncan, Admiral Adam, Lord, second son of Alexander Duncan, Provost of Dundee (1731-1804). Distinguished 
 
 himself under Rodney at Cape St. Vincent ; defeated the Dutch at Camperdown, 1797 ; thanked by both 
 
 Houses of Parliament ; created Baron Lundie and Viscount Duncan of Camperdown ; City of London 
 
 gave him the freedom and a sword. Full length, standing at table. Painted, 1798. Trinity House, 
 
 Leith. 
 Duncan, Alexander, W. S., of Restalsig and St. Fort; 74 x 60. Victoria Art Galleries, Dundee. Property 
 
 of Mrs. Anstruther-Duncan, Naughton, Fife. 
 Duncan, Andrew, sen. (1744-1828). President College of Physicians, 1790 ; Professor of Medicine Edinburgh 
 
 University; first Physician to the King for Scotland, 1821; wrote "Annals of Medical Science," etc. 
 
 Painted about 1819. Royal College of Physicians, Edinburgh. 
 Duncan, Andrew, sen. Royal Medical Society, Edinburgh. 
 Duncan, Mrs. Half figure in front, head turned slightly to right ; black dress, cut low ; dark background ; 
 
 29J X 24J. Ernest G. von Glehn, Esq. R.A., 1906. 
 Dundas Colonel, First Earl of Zetland. Marquis of Zetland. 
 
 Dundas, Sir David, K.C.B., 1735-1820. Painted 1809. 30x25. Exhibited Edinburgh, 1824. 
 Dundas, Henry. (See Lord Melville). 
 Dundas of Arniston, Lord Chief Baron of Court of Exchequer in Scotland (1758-1819). Seated to left ; in 
 
 official robes ; table and curtain ; 49 x 40. Painted about 1795, Engraved by F, Woolnoth, 1834. 
 
 Raeburn Exhibition, 1876. Robert Dundas, Esq., of Arniston. Sir Robert Dundas, Bart. 
 Dundas, Lady Eleanor. Sir T. D. Gibson-Carmichael, Bart 
 Dundas, General. Sir T. D. Gibson-Carmichael, Bart. 
 Dundas, Mrs., of Arniston. Painted about 1793. Raeburn Exhibition, 1876. Robert Dundas, Esq., of 
 
 Arniston. 
 Dundas, Mrs., of Linlithgow, wife of George Dundas, of Dundas. Second daughter of Sir Wm. Stirling, 
 of Ardoch. 34^ x 26;^ (1762-1832). Raeburn Exhibition, 1876. Sir William Stirling-Maxwell, Bart., of 
 
 Keir and Pollock. VVallis (o), 1911. 
 Dundas, Mrs. Philip, R.S.A., 1863. 
 
 43 
 
LIST OF PICTURES— continued. 
 
 Dundas, Robert, of Arniston, second Lord President of the Court of Session (1713-1787). Painted about 
 
 1787. There is a copy in Parliament House. Engraved by W. Sharp, 1797. Raeburn Exhibition. Sir 
 
 Robert Dundas, Bait. 
 'Oundas, Second Lord President. 30 ,v 25. 
 Durham, :\Irs. Thomas, wife ol General Durham, third son of James Durham, of Largo. Raeburn Exhibition, 
 
 Mrs. Dundas Durham. Sir Robert Dundas, Bart. 
 Duniop, John. Lord Provost of G1;ikj;o\v, and a poet. Misses Donald. 
 Dunsinnany, Sir William Naii-ne, Lord of Session ; died 1811. Faculty of Advocates. 
 Dyce, Rev. Alexander, when a boy (1798-1869). 29J x 24g. Bequeathed by Mrs. Donald Campbell to the 
 
 nation. Victoria and Albert Museum. 
 
 Edgar, Alexander, of Auchingrammont ; died 1820. Lieut-Col. Edgar. Raeburn Exhibition, 1876. A. J. 
 
 Forhes-Leith. 
 Edgar, Ann. See Lady Raeburn. 
 Edgar, Dr. Handasydc ; died 1810. Lieut. -Col. James Handasyde Edgar. Raeburn Exhibition, 1876. 
 
 Humphrey Roberts. 1900 (c) Reid. 
 Edgar, James, of Auchingrammont; died 1813. Lieut. -Col. James Handasyde Edgar. Raeburn Exhibition, 
 
 1876, Agnew, 1901 (c), Scottish National Exhibition. 1908. J. J. Mowbray, Esq. 
 Edgar, James, infant son of J:imes Edgar; died in 1794. 30 x 2.5. Lieut. -Col. James Handasyde Edgar. 
 
 Raeburn E.'chibition, 1876. John F. Talmage, Esq., New York. 
 Edgar, Mr. Raeburn Exhibition, 1876. Raeburn Family. 
 Edgar, Miss. 
 Edmonstone, Murray Kynynmond, wife of John Buchanan, of Arnprior. Painted before 1808. Raeburn 
 
 Exhibition, 1876. J. Buchanan Baillie Hamilton, Esq. 
 Egerton, Sir Thomas (Earl of Wilton). (R. & F.) 1906. Langton Douglas, 1906, 
 Eglinton, Archibald, thirteenth Earl of. Full length ; about 84 X 60, Representing him as a boy with 
 
 Eglinton Castle in background. Earl of Eglinton. 
 Elcho, Lord, and .Mr. Charteris. Earl of \\'eniyss. 
 Elder, Right Hon, Thomas, of Forneth (1737-1799), Lord Provost of Edinburgh and Postmaster General 
 
 for Scotland. Painted in 1798 for the University of Edinburgh, the new buildings of which were erected 
 
 mainly owing to his efforts. Exhibition of Artists' Works, Edinburgh, 1876. Engraved by R. Earlom. 
 Elder, Thonns. David .MacRitchie, Esq., on loan to S.N.P.G. Replica of the picture in Edinburgh University, 
 Eldin, Lord. (Sec Clerk). 
 
 Elliot, Cornelius, of Wolfelee. Raeburn Exhibition, 1876. Sir Walter Elliot, of \\'olfelee. 
 Elliot, Margaret (Miss Rannie) wife, of above ; died 1796. Raeburn Exhibition, 1876. Sir Walter Elliot. 
 Elliot, William Elliot, Major 1st Madras Cavalry; eldest son of Cornelius Elliot; died in India, 1805. 
 
 Raeburn Exhibition, 1876. Sir Walter Elliot. 
 Elphinstone Children, The. 1.99 m. X 1.53 m. Exhibition of British Art, Berlin, 1908, Charles 
 
 Wertheimer, Esq, 
 Erskine, Anne, daughter of John Erskine, of Dun, and wife of John Wauchope ; died 1811. Raeburn 
 
 Exhibition, 1876. Sir John Don Wauchope, Bart. 
 Erskine, Lady Christian (Lady Christian Bruce), daughter of Lord Elgin and Kincardine; died 1810. W'ife 
 
 of James Erskine, Esq., of Cardross. French Gallery, Edinburgh, 1909. 
 Erskine, Colonel. He.id engraved by G, Dawe. 
 Erskine, Hon. Henry (1746-1817), of Amondell, Linlithgowshire. Distinguished advocate and brilliant wit, 
 
 second son of fifth Earl of Buchan ; his son, Henry L)avid, by his first wife. Christian Fullerton, became 
 
 seventh Earl of BLich.in. Painted about 1805. Engraved by James Ward. Raeburn Exhibition, 1876. 
 
 Exhibited, Edinburgh in 1884. 
 Erskine, Henry ; 30 X 25. Painted about 1805. Exhibited, Edinburgh, 1884. Miss Fullerton. 
 Erskine, Hon. Henry. Three-quarter length, standing ; brown hair, grey coat and breeches, white scarf; 
 
 right hand rests on a book lying on green covered table; red curtain. Painted about 1795. 16 X 13. 
 
 Sold in the sale of John Clerk, of Eldin, in 1813. Shepherd Brothers, 1910. Lord Lucas. 
 Erskine, Hon. Henry. 29 X 34. Farmer, 1902 (c). 
 Erskine, James. W. J. Hay, Esq., Dunscastle. 
 Erskine, James. Erskine of Cardross. 
 Erskine, Rev. John, D.D., of Carnock (1722-1803). Described in Scott's "Guy Mannering." Raeburn 
 
 Exhibition, 1876. Engraved by G. Dawe. Miss Burnett, of Kcnmay, and family. 
 Erskine, William. (See Lord Kinnedder). 
 Erskine, Mrs. John. Raeburn Exhibition, 1876. 
 Eskgrove, Lord, Sir David Rae, Bart., Lord Justice Clerk (1724-1804), Faculty of Advocates, Edinburgh. 
 
 Farmer's Wife, A (Mrs, Somerville), White cap with black ribbon, white apron reaching to the throat and 
 almost concealing her Lilack gown ; a black and white spotted shawl ; wearing flngerless gloves; 36 X 30, 
 Stirling Art Exhibition, 1910, Stephen Mitchell, Esq., of Boquhan, Illustrated in "Portraits by 
 Raeburn," edited by .Mr James L, Caw, and published by Schuize & Co,, Edinburgh, 1909. 
 
 Farquhar, Sir Walter. Nearly whole length, seated in arm chair, with hands clasped. Engraved by W. Sharp. 
 
 Farquharson, Archibald, of Finzcan. Dr. Farquharson. 
 
 Female, Study of a. Painted in Rome. Exhibition of Artist's Works, Edinburgh, 1876. 
 
 Ferguson, Dr. .Adam, LL.D., Professor of Moral Philosophy at Edinburgh University (17231816). In dark 
 coat, vest and breeches with white stock, seated in a crimson armchair ; a table with hooks by his side ; 
 red curtain background ; 49 X 39. Raeburn Exhibition, Edinburgh, 1876. Scottish National Portraits 
 Exhibition, 1884. Gooden & Fox (c), 1906. Engraved by J. B. Lane, half-length only. The portrait is a 
 whole length. 
 
 Do. do. University of Edinburgh. 
 
 44 
 
LIST OF PICTVRES— continued. 
 
 Ferguson, Sir Adam Ferguson, of Killterran. Sir James Ferguson, Bart. 
 Ferguson, Hugh Munro, of Raith. R. C. Munro Ferguson, Esq., M.P. 
 
 Ferguson, Robert, M.A., of Raith. R. C. Munro Ferguson, Esq., M.P. 
 
 Ferguson, General Sir Ronald, G.C.B., M.P. (1773-1841). R. C. Munro Ferguson, Esq., M.P. Hunting 
 
 costume, gun in hand, dog at his feet. Reproduced in " Fifty Portraits of Raeburn," 1909. 
 Ferguson, William, of Kilrie, as a boy. Oval ; head to left ; frilled shirt, open ; 30 x 25. Raeburn 
 E.Hhibition, 1876; Glasgow International Exhibition, 1901. R. C. Muin-o-Ferguson, Esq., M.P. 
 
 Fergusson, Mrs., of Monkhood (iiit- Hutcheson). In white dress with yellow fichu over her shoulders, and 
 white cap with blue bow; 30 x 2S, Miss E. C. F. Pollock. Agncw (c), 1906. 
 
 Fergusson, Mrs., daughter of William Petrie, Esq., and wife of John Hutcheson Fergusson, Esq., of 
 Trochraigne. Three-quarter length. In green dress, with scarlet shawl over her arms, white kerchief 
 over her hair and fastened under her chin ; seated, resting her left arm upon a table ; 35 x 27, Miss E. 
 Portal. Sully & Co. (c), 1908. 
 
 Fergusson, Mrs., of Raith, and her Ciiildren, Ronald and Beatrice. Lady in wliite seated ; girl leaning on her 
 lap, boy by her side with dog; landscape background; 48i x 39. Raeburn E.xhibition, 1876; reproduced 
 in " Fifty Portraits of Raeburn," 1909. R. C. Munro Ferguson, Esq., M.P. 
 
 Fettes, Sir Wm,, Bart (1750-1836). Founder of the Fettes College, and uncle of Sir. Wm. Fettes Douglas, the 
 eminent Scottish artist. Raeburn exhibition, 1876. Trustees of Fettes College. 
 
 Fettes, William, only son of Sir William Fettes (1787-1815). Raeburn Exhibition, 1876. Trustees of Fettes 
 College. 
 
 Fife, Alexander, Earl of. Duke of Fife, K.T. 
 
 Fife, James, fourth Earl of. Duke of Fife, K.T. 
 
 Finlay, Mrs. Alexander. 'Miss Justine Camilla Wynne), of Glencorse, near Edinburgh. Raeburn E.xhibition, 
 1876. Lieut-Col. J. E. Sharp. Mrs. Glassford Bell. 
 
 Finlay, E. (c), 1908. Gooden and Fox, 
 
 Forbes, James. 
 
 Forbes, John Stuart (afterwards 8th Baronet of Pitsligo), with Dog. Second son of Sir William, 7th Bart., 
 b. 1804 ; m. 1834, Lady Harriet Louisa Anne Kerr, third daughter of William, 6th Marquis of Lothian. 
 Assumed the additional surname and arms of Hopburn, as heir of entail to the Barony of Invermay, and 
 as heir-at-law to the estate of Balmanno, both in Perthshire ; died 1866. Raeburn Exhibition, 1876. 
 Lord Clinton. Hon. C. F. Trefusis. 
 
 Forbes, Lady. 
 
 Forbes, Miss. F. Fleischmann, Esq. 
 
 Forbes, Sir William, 6th Baronet of Pitsligo, Aberdeen. An eminent banker in Edinburgh. Sir Walter 
 Scott says in his notes to " Marmion," that he "was unequalled, perhaps, in the degree of individual 
 aii'ection entertained for him by his friends, as well as in the general esteem and respect of Scotland at 
 large." He was also, of considerable literary ability, and wrote a " Life of Beattie," m. 1770, Elizabeth, 
 daughter of Sir James Hay, Bart., of Haystone. Sir William died in 1806. Bust : long straight grey hair, 
 grey blue coat, yellow silk band, bearing enamel medallion ; grey background ; 30 x 25. Engraved by 
 S. Freeman. On loan to Brighton Art Galleries by the Trustees of the late C. J. Mackenzie, of 
 Portmore, Scotland. 
 
 Forbes, Sir Wm. ; 30 X 25. Mrs. Stewart Forbes. Wallis (c), 1905. 
 
 Forbes, Sir William, 7th Baronet ol Pitsligo ; 49 < 39. Picture unfinished. Married 1797, Williamina, sole 
 child and heiress (by Lady Jane Leslie), of Sir John Stuart, Bart, of Fettercairn. Sir William died in 
 1828, and was succeeded by his second son, John Stuart Seated, three-quarter length; right elbow rests 
 on arm chair placed by table at window; left arm hangs at the other side of the chair, his fore-finger on 
 green-covered chair; full face, iron-grey hair, black coat, white collar and cravat; red curtain. On 
 loan to Brighton Art Galleries by the Trustees of the late Colin J. Mackenzie, Esq., of Portmore, Scotland. 
 
 Forbes, William, with dog ; eldest son of 7th Baronet, died unmarried, 1826. Raeburn Exhibition, Edinburgh, 
 1876. Lord Clinton. 
 
 Ford, Mrs. Robert. Sir Lewis Molesworth. 
 
 Forsyth, Wm., horticulturist ; 24J x 29J. G. F. Hearn, Esq., gift to Metropolitan Museum, New York. 
 
 Fox, Charles James (1749-1806). R. A, Oswald, Esq., of Auchencreive. 
 
 Eraser, Alexander Charles, Jun., of Reelig, fourth son of Edward Fraser ; born 1789, served in the Hon. 
 East India Company Civil Service ; died at Delhi in 1816. In green and blue plaid coat, white waistcoat, 
 frill open at the neck ; full face, body to the right ; 30 x 25. Painted (1803) at the age of fourteen. 
 Agnew, 1897. Adolph Hirscb, Esq. R.A., 1907. 
 
 Fraser, Edward Satchwell, third son of Edward Fraser of Reelig. Born in 1786, served in the Hon, East 
 India Company Civil Service, died at St. Helena in 1813. In green and blue plaid coat, white waist- 
 coat and stock, turned sliglitly to the left ; 30 x 25. Painted at the ar;e of seventeen in 1803. 
 A. Wertheiraer, Esq,, 1897. 
 
 Fraser, Miss Eliza, of Castle Fraser. 
 
 Fraser, George John, of Reelig, fifth son of Edward Fraser. Born in 1800, served in the Hon. East India 
 Company Army, married in 18:i2, died at Delhi, in 1842. In brown coat and waistcoat, with white frill 
 loose at the neck; full face, body slightly to the right; 30 x 25, Painted (1815) at the age of fifteen. 
 Agnew, 1897. 
 
 Fraser, James Baillie, of Reelig, eldest son of Edward Fraser. Born in 1783, an accomplished writer of 
 fiction and of travels in the east, he was a great traveller in India, Persia and Mesopotamia about the 
 year 1836, see obituary notice in the Journal of the Geographical Society, vol. xxvi, ; he married in 1823, 
 Jane Tytler, daughter of Lord Wordhouselee, and died in 1856 at Moniack, N,B. In claret-coloured coat 
 and yellow waistcoat, white stock, head slightly to the left ; 30 x 25. Painted (1809) at the age of 
 twenty-six. Gooden (c), 1897. 
 
 Fraser, James. 36x28. Renton, R, & F., 1903. 
 
 45 
 
LIST OF PICTURES— continued. 
 
 Fraser, Jane Anne Catherine, of Reelig, daughter of Edward Fraser. Born 1797, married in 1816, died 1880. 
 In purple dress, with white lace collar and cords ; full face, body to the right ; 30 x 25, Painted (1816) 
 at the age of nineteen. A. Werthcimer, Esq. Wm. Beattie, Esq. M. Kann sale, 9 June, 1911. 
 
 Fraser, General Mackenzie, of Castle Fraser, Ross-shire ; 49 X 39. Portrait unfinished. He was M.P. for 
 Ross-shire. Lieut, -Gen. in the Army and Colonel of the 78th Highlanders. Derived from his mother the 
 estate of Inverallochy, and that of Castle Fraser from her younger sister, Elizabeth, and assumed the 
 name of Fraser. Married, in 1786, Helen, Sister of Lord Seaforth ; died 1809. Three-quarter length, 
 scarlet coat, gold epaulettes and buttons, black collar and lapels, white cravat ; Thumb of right hand in 
 belt, left hand holding hilt of sword, scarf round waist, buff trousers, grey background. Raeburn 
 Exhibition, Edinburgh, 1876. On loan to Brighton Art Galleries, by the Trustees of the late C. J. 
 Mackenzie, Esq., of Portmore, Scotland. Fraser, Lieut. -Colonel Mackenzie, of Castle Fraser. 
 
 Fraser, William, Jun., of Reelig, second son of Edward Fraser. Born in 1784, served in the Hon. East 
 India Company Civil Service, was assassinated by a native while Commissioner of Delhi in 1835 ; see 
 account in Blackwood's Magazine, January, 1878. In claret-coloured coat, white waistcoat and stock, 
 head slightly turned to the right; 30x25. Painted (1801) at the age of sixteen. Agnew (c) 1897. 
 Sedelmeyer Galerie, 1908. M. Eveil Picard, Paris. M. Kann, Paris. 
 
 Fraser-Tytler, Jane. (See Tytler-Fraser). 
 
 Fullerton, Mrs. Francis; 35 x 27. Colnaghi & Co. Agnew & Son. 
 
 FuUarton, William, of Skeldon, Ayrshire, advocate. Painted about 1805. Raeburn Exhibition, 1876. Miss 
 FuUarton, 
 
 Gallow^ay, BaillieW^m. Merchant Company, Edinburgh, 
 
 Gardiner, Dr. Miniature, Miss Lee. 
 
 Gellion, Ch.F. Bust of a young man. 
 
 George IV., Head of, engraved on plate of Dr. Thomas Charles Hope, (which see, and also text) 
 
 Gevine, Mrs. In white dress with blue sash, and blue ribbon in her powdered hair. 29 x 24J. 
 Dr. Farquharson (c) 1911. 
 
 Gibb, Mr. A pastel. 
 
 Gifford, St. Thomas ; 29 x 24J. A. Smith (c), 1904. 
 
 Gilbert, John. Half figure, turned slightly to right, dark dress, dark background; 29 x 24, Rev. W. H. 
 Wayne, R,A,, 1906. 
 
 Gilchrist, Ebenezer. John iVIeCulloch, Esq, 
 
 Gladstone, Mrs. Sir J, R, Gladstone, Bart. 
 
 Gladstone, Thomas, Grandfather of W. E. Gladstone. Died 1809. Sir J. R. Gladstone, Bart, 
 
 Glencairn, Lord, fiiend of Robert Burns, the poet. Painted Canongate, Kilwynne Masonic Lodge No, 1, 
 Edinburgh, 30 x 25. Wallis & Son ; now in America. 
 
 Gleneily, Earl of, Grace (c), 1898. 
 
 Glengarry. (See MacDoneli). 
 
 Glenlee, Lord of Barskimming and Glenlee, Lord Presideiit of the Court of Session, In dark dress with 
 white stock, seated in an armchair by a table, on which are papers and books, red curtain 
 background; engraved by Walker. Raeburn Exhibition, 1824. Holder, 1902 (c) 1904, Colnaghi & Co. 
 Knoedler & Co. 
 
 Gordon, Alexander, fourth Duke of (1743-1827) ; 30 x 25. Manchester Art Gallery, 
 
 Gordon, Chas., fourth Earl of Aboyne ; 50x40. J. H. Brass, Esq. Turner (c), 1906. 
 
 Gordon, George, fifth Duke of. (1770-1836). Ensign in 35th Regiment, 1790; with Duke of York in Flanders; 
 raised regiment of 92nd, or Gordon Highlanders, Colonel, 1796 ; served in Ireland and Holland ; General, 
 1819, G.C.B., 1820; succeeded to the title, 1827. Head to right, grey powdered hair, brown eyes; 
 12 X 11. Miss Raeburn, on loan to S.N.P.G. 
 
 Do. 30 X 25. Agnew, 1904. 
 
 Do. Raeburn Exhibition, 1876. The Lord Justice General. 
 
 Gordon, Jane, Duchess of ; 30 x 25. Wife of fourth Duke, died 1812, Agnew (c), 1901. 
 
 Gordon, John, of Aikenhead ; 50 x 40. Painted 1816, Raeburn Exhibition, 1876. John Gordon, Esq. 
 
 Gordon, Mrs., of Aikenhead ; 50 x 40. Painted 1816. Raeburn Exhibition. John Gordon, Esq. 
 
 Gordon, Mrs. (Christian Forbes), wife of Charles Gordon of Buthlaw and Cairness ; 35 x 27. Painted in 
 1790. Agnew, 1910. 
 
 Gow, Neil, violinist and composer. Born at Inver, near Dunkeld, in 1727. He was self-taught till the age of 
 thirteen, when he received some lessons from John Cameron, a follower of the Stewarts of Grandtully, 
 and he soon became unrivalled in Scotland as a performer on the violin ; his " up bow " being especially 
 distinguished for strength, and his rendering of Scottish dance music, full of spirit, vigour, and 
 expression. He was patronised by the Scottish nobility, and was in great request at balls throughout 
 the country. He composed many admirable Scottish reels, strathspeys, and other pieces of dance 
 music. The first collection of these was published at Dunkeld in 1784, and three others were issued 
 during his lifetime. Several of his sons were well known musicians. Neil Gow was a man of great 
 worth, prudence, and humour. He died at Inver, in 1807. Nearly full length, seated playing the violin ; 
 almost full face to right ; dark brown hair touched with white, greyish hazel eyes, dark eyebrows, shaven 
 face, mouth dimpled at corners, double chin ; dark bluish coat and vest with grey buttons, knee breeches, 
 and hose of red and green tartan ; yellowish brown background; 48J x 38J. Formerly in the possession 
 of Henry Raeburn, Esq., J. P., of St. Bernards, who in an autograph letter, now in the hands of the 
 Trustees of the Gallery, certifies that this "is the original portrait painted by the late Sir Henry 
 Raeburn, my father, and that the other portraits of Neil Gow, painted by him, were copies thereof." 
 Mr. Raeburn presents the picture to Robert Salmond, Esq., who lent it to the National Gallery of 
 Scotland from 1871 to 1883. Engraved in mezzotint by Wm. Say, in stipple by Scott, and as a vignette 
 in line by Croll. Purchased, April, 1886, S.N.P.G. Note : — Dear Sir, 1 am quite in extremity for cash ; 
 would you oblige me with the balance for the plate of Neil Gow? It would be of the greatest service to 
 
 46 
 
LIST OF PlCTVRES—coiitinuecl. 
 
 me at this time ; or if not convenient for the whole, if you would favour me with ten pounds for the 
 
 present, it would more than oblige me. Yours very truly, W. Say. March 19th, 1816. To Mr. T. 
 
 Mackdonald, 39 Fleet Street (Frame maker, and publisher). 
 Graeme, John, of Eskbank. Raeburn Exhibition, 1876. Miss Graeme, Maxtone Graham, Esq. 
 Graeme, Mrs., of Eskbank. Raeburn Exhibition, 1876. Maxtone Graham, Esq. 
 Grahame, of Whitehill. 
 Graham, Anne Cunningham, of Gartmore ; married Thomas Durham, of Largs in 1820. Dressed in black, 
 
 her hair in ringlets. Oval ; 30 X 25. Birmingham, 1903 ; French Gallery, 1910. C. A. Barton, Esq. 
 Graham, Elizabeth, of Fintry, afterwards Mrs. Douglas of Brigton. Seated in an armchair in front of a tree, 
 
 turned to right and looking in same direction ; white dress, blue waist-band, muslin frill round neck ; 
 
 her right arm rests on arm of chair, her hands lie folded In her lap ; three-quarter length, life-size ; 
 
 35 X 26. Purchased from the family ; Sedelmeyer, 1905. E. R. Bacon, Esq., New York. Sedelmeyer ; 
 
 Wallis & Son, 1910. 
 Graham, Right Hon. Sir James. Painted before 1800. Sir Richard Graham, Bart. 
 Graham, John, of Gartin. H. D. Erskine, Esq. 
 Graham, Mrs., of Gartin. H. D. Erskine, Esq. 
 Graham, Miss Nancy, afterwards the wife of her cousin, Captain Alexander Gordon Graham, Hanovarian 
 
 Grenadier Guards, of Cromarty, Scotland. White muslin dress with short sleeves and red shoes ; 
 
 seated, in a landscape, holding a bunch of pansies and wallflowers in her hand ; full length ; life-size. 
 
 Sedelmeyer, 1900. 
 Graham, Robert Cunningham, of Gartmore (1730-1798). It is said to have been begun by David Martin, the 
 
 artist's master, and finished by Raeburn. 
 Graham, Walter, merchant, Glasgow. 
 Grant, Alan, Esq. ; 29 x 24. Sully (c), 1908. 
 
 Grant, Sir James, twenty-third Laird of Grant. Countess Dowager of Seafleld, 
 Grant, Sir John Peter, M.P., of Rothiemurchus, Inverness-shire ; held high judicial post in India; died, 1848 
 
 (miniature). Raeburn Exhibition, 1876. James T. Gibson-Craig, Esq. 
 Grant, Sir J. P. Three-quarter length. Painted about 1796. 
 Grant, Lady. J. P. Grant, Esq. 
 Grant, Hon. Mrs., of Kilgraston. Margaret, second daughter of Francis, Lord Gray; 30 X 25. Agnew, 1905. 
 
 Col. Walter Brown, of Renfrew. 
 Gray, Lord Francis. Earl of Moray. 
 Gray, Lord Francis. Earl of Moray. 
 
 Gray, Hon. John. Engraved by T. Hodgetts. Earl of Moray. 
 Gray, Baron John. Engraved by Bond. Full length. 
 Gray, John of Newholm (1731-1811) ; town clerk of Edinburgh. Three-quarter length, seated. Engraved 
 
 by G. Dawe, 1806. Raeburn Exhibition, 1876. Alexander Cunningham, Esq., W.S. 
 Gray, John Hamilton, afterward Rev. (1800-67). 
 Gregory, Prof., James (1753-1821) ; 36 x 28. Seated in armchair, and looking to left. Engraved by G. Dawe. 
 
 Ehrich Sale, New York, March 24, 1904. Rutherford. 
 Gregory. Prof. Replica. Royal College of Surgeons, Edinbugh. 
 Gregory, Mrs., second wife of Prof. James Gregory (1770-1847); 49x39. Three-quarter length, seated. 
 
 Engraved by J. B. Pratt. 
 Greig, Mrs. 
 
 Griffith, M.P., Mr. Baron Gustave de Rothschild, Paris. 
 Greenwich Pensioner. Louvre. 
 
 Guthrie, H. (1768-1834) ; 35 x 27J. Miss E. Wright. Verity (c), 1908. 
 Guthrie, John, of Carbeth (1768-1834). Guthrie Smith, Esq. 
 
 Haddington, Countess of. Glasgow International Exhibition, 1901. Dr. Paton. 
 
 Haig, James, Esq., aged eighteen, in dark green coat, with white stock; 30x25. Painted in 1812. 
 Colnaghi & Co, D. H. King, Esq., sold at his sale in New York, to Mr. Hollins. 
 
 Haliburton, David, of Bushey, in brown coat and vest with white stock ; 23J X 194. Lord Tweedmouth. 
 Charles Davis (c), 1905. 
 
 Halkett, Mrs. Craigie. Scottish National Exhibition, 1908. Mrs. Lindsay. 
 
 Halliburton, Lord D ; 50 x 40. Sold at Christie's in 1906 to Herr Heinemann, who presented it to the Alte 
 Pinokethec, Munich. This picture, however, is by Sir William Beechey. See letter in the life of 
 Beechey by iMr. W. Roberts. 
 
 Hamilton and Brandon, Duke of. Lord Rossmore. 
 
 Hamilton and Brandon, Duke of, with horse, Duke of Hamilton. 
 
 Hamilton, Douglas, eighth Duke of. Duke of Hamilton. 
 
 Hamilton, Elizabeth, Authoress. Engraved by H. Meyer and W. T. Fry. 
 
 Hamilton, Miss Harriet Wynne, daughter of Richard Wynne, and wife of James Hamilton of Kames. Full 
 length, dressed in a high waisted and simple white gown cut low at the throat, and wearing round her 
 shoulders a red shawl with a narrow border and patterned corners. She stands with her right arm 
 resting on a tree trunk ; her figure is turned to the left, and her left arm swathed in the shawl which falls 
 to the ground on the left side. The face is lit from above on the right ; background of low toned sky, with 
 a dark, woody, landscape low down on the left ; 94 X 60. Presented to Scottish National Gallery by Sir 
 William Stirling Maxwell, Bart., K.T., 1876. 
 
 Hamilton, Mrs., daughter of Richard Wynne, and wife of James Hamilton of Karnes ; 23J x 32. Sir William 
 Ingram, Bart, Westgate-on-Sen. 
 
 Hamilton, Lady Jane Montgoraerie. Earl of Eglinton. 
 
 47 
 
LIST OF PICTVRBS— continued. 
 
 Hamilton, sen., Dr. James (1749-1835). Physician to Royal Infirmary, Edinburgh; said to have been the 
 last to wear eighteenth century costume. Half length to right. Engraved by C. Turner and J. Burnet, 
 
 Racburn Exhibition, 1876. Lord Moncreiffe of TuUibole. 
 Hamilton, sen., Dr. James. A miniature. 
 
 Hamilton, General John, of Orbitson and Dalzell. Lord Hamilton of Dalzell. 
 Hamiltoii, John, of Pcncaitland. Sir Robert Dundas, Bart. 
 Hamilton, John, of Pcncaitland. Replica. Mrs. Hamilton Ogilvy. 
 Hamilton, Mrs. John, of Pcncaitland. Sir Robert Dundas, Bart. 
 Hamilton, John, of North Park. Mr. Hamilton. 
 Hamilton, Mrs., of North Park. Mr. Hamilton. 
 Hamilton, Master John ; 50 X 40. Abel (c), 1904. 
 Hamilton (Margaret Stirling) Lady, wife of Sir Hugh Hamilton, of Rosehill. Half length to right, seated 
 
 holding speaking trumpet. One of a set of portraits of the Stirling family. See engraved portraits in 
 
 British MusCLim. 
 Hamilton, William, eleventh Duke of. Duke of Hamilton. 
 Hardcwicke, Earl of. Raeburn Exhibition, 1824. 
 Harrower, James, of Inzievar, with his wife and son ; 51 X 41. Birmingham Art Gallery, 1903. Charles 
 
 George, Esq., W.S. Raeburn also painted a half-length portrait of Mr. Harrower seated in an armchair 
 
 with his hands clasped in front of him, which may be the portrait sold at Christie's in 1903 ; 35J x 26A. 
 Hart, Mrs., daughter of .Sir J. Montgomery, of Stanhope, Lord Chief Baron of Scotland, and wife of Major 
 
 Hart, of Castlcmilli, Dumfries-shirc. Painted about 1810. Plate to Conway's Great Masters, 1905. 
 
 Full length, standing in a garden; head turned to left; right arm resting on wall, left hanging by her 
 
 side; 94 x 60. Agncw, 1908. Scdelmeyer, of Paris. 
 Harvey, John, of Castle Semple. Full length, standing; 94 X 59. J. W. Shand Harvey. Sulley (c) 1906. 
 
 Sedelmeyer Gakrie, 1908. E. M. Hodgkins. 
 Harvey, Col. Lee. J. W. Shand Harvey. Agnew (c) 1906. 
 Harvey, Mrs. Lee, and daughter; 94 x 59. J. W. Shand Harvey. Exhibition British Art, Berlin, 1908. 
 
 A. VVcrtheimer. 
 Hastings, Warren. 
 Hay, Chas. (See Lord Newton). 
 Hay, Sir James, fourth Baronet of Haystone. Painted about 1806. The baronetcy having been dormant 
 
 since 1683, he preferred his claim to it in 1762, which was allowed by a jury assembled at Peebles in the 
 
 same year; married Dorrlel, youngest daughter and co-heiress of Daniel Campbell, of Greenyards; 
 
 died 1810; succeeded by his son John. Three-quarter length, to right; looking at spectator; blue black 
 
 coat, yellow waistcoat, white collar and cravat; red curtain and glimpse of landscape. Engraved by 
 
 T. Hodgetts. Lent to Raeburn Exhibition, Edinburgh, 1876, by Sir Robert Hay, Bart., oi Haystone. 
 
 On loan to Brighton Art Galleries by the trustees of the late C, J. Mackenzie, of Portmore, Scotland. 
 Hay, John, Master of Trinity House. Painted about 1820. Lent to Raeburn Exhibition, Edinburgh, 1876, by 
 
 Incorporation of Shipmasters, Trinity House, Leith. 
 Hay, Sir John, of Haystone, fifth Baronet. Born 1755 ; married 1785, Mary Elizabeth, youngest daughter of 
 
 James, sixteenth Lord Forbes, by \^'hom he had, with other issue, John, the si.xth baronet; died 1830. 
 
 Painted about 1818. Raeburn Exhibition, Edinburgh, 1876. 
 Hay, Master ; 291 x 24. John A. Holms, Esq. Wallis & Sons, 1910. Reid (c) 1905. 
 Hay, of Spot, Captain R. ; 94 x 58. Agnew, Louvre. 
 Hay, Mrs., of Spot. Three-quarter length ; 49 x 40. Bristow (c) 1908. Exhibited in Paris. 1908, as property 
 
 of A. Sanderson. W. A. Coates, Esq. 
 Head, Study of a. Sir John Stirling Maxwell, Bart. 
 Head, unnamed. Raeburn Exhibition, 1876. 
 Henderson, Mr. Bust. 
 Henderson, Mrs. Bust. 
 Hepburn, James. Half length, young man in grey suit, white stock; curly powdered hair. 30x25, 
 
 M. Kann Sale, 9th June, 1911. 
 Hepburn, Lady, of Smeaton-Hepburn. Unfinished. Seated, three-quarter; white dress, red chair, powdered 
 
 hair set with pearls ; 50 x 40. Wallis & Son, 1910. 
 Hepburn, Nellie. Earl of Haddington. 
 Hill, Principal George (1750-1819). Sherifl' Hill, of Dingwall ; bought at Inverness, in 1900, by Messrs. 
 
 Wallis & Son. 
 Hill, Mrs., wife of Principal Hill; 3S x 30. Sheriff Hill; bought In his sale at Inverness, 1900, by Messrs. 
 
 Wallis & Son. Messrs. Knoedler & Co., of New York. 
 Hill, Dr. John, and son. Professor of Classics Eduiburgh University, and brother of Principal George Hill, 
 
 of St. Andrews. Painted about 1801. Raeburn Exhibition, 1876. John Cook, Esq. Wallis & Son. 
 Hodgson, Miss Jane, afterwards Mrs. William Giles. Miss Jane Hodgson was a cousin of Lord Ellenborough, 
 
 and, like him, was descended from William Christian, of Ewanrigg Hall, Cumberland, and was related 
 
 to most of the leading families of that county. She was sister to Colonel James Hodgson, of the East 
 
 India Company, and married Captain William Giles; 30 X 24 J. Birmingham Art Gallery, 1903. Lockett 
 
 Agnew, Esq. 
 Home, George, of Branxton. Col. Milne Home. 
 Home, Miss Jean. Col. Milne Home. 
 Home, John, Dramatist and Historian (1724-1808); 29 X 24. Engraved by C. Watson, and others. National 
 
 Portrait Gallery. There are two other portraits of him. 
 Honyman, Lady, wife of Lord Armadale. Painted about 1800. Raeburn Exhibition, 1876. Mrs. Catherine 
 
 Dallas. 
 Honyman, Bart., Sir William (Lord .Armadale). Senator of College of Justice ; married 1777, .Mary, daughter 
 
 of Robert Macqueen, Lord Braxfleld ; died 1825. Painted about 1800. Raeburn Exhibition, 1876. Mrs. 
 
 Catherine Dallas. 
 
 48 
 
LIST OF PICTURES— continued. 
 
 Hope, Right Hon. Charles Hope, of Gi-antoii, Lord President; born 1763; son of John Hope, and great 
 grandson of the first Earl of Hopetoiin. Held the offlcc of Lord President of Court of Session for thirty 
 years; Lord Justiee General, 1836; died 1851. He was a man of fine appearanee, with a splendid voice, 
 which Lord Coekburn said was only surpassed by that of Mrs. Siddons. Three-quarter lenjjth, life-size, 
 seated in a chair on the left, facing to the right wig and robes of Lord President; dark red curtain; 
 50 X 40. Engraved by G. Dawe. Raeburn Exhibition, 1876. Loan collection of portraits, Birmingham, 
 1900. The Earl of Hopetoun, K.T. 
 
 Hope, the Right Hon. Charles, Lord President. Painted about 1803 ; 39 x 49. Charles Cook, Esq., of Edinburgh. 
 
 Hope, General, the Hon Charles; born 1768, son of the second Earl of Hopetoun, by his third wife Lady 
 Elizabeth Leslie ; married Lady Louisa Anne, eldest daughter of George Finch Hatton, afterwards Earl 
 of Winchelsea ; died in 1828. Bust, life-size, facing spectator, in uniform, scarlet tunic, gold shoulder 
 knot, black collar; 29x24. Engraved by William MiUer. Raeburn Exhibition, 1876. Loan collection 
 of portraits. Birmingham, 1900. Earl of Hopetoun, K.T. 
 
 Hope, Lady Charlotte, wife of Lord President Hope. 30 x 2.5. Painted about 1811. Adrian Hope ; Arthur 
 Sanderson, Esq., Gooden & Fox (c), 1904. Messrs. Kooedler, New York. 
 
 Hope, Hugh, son of Sir Archibald Hope. Sir Alexander Hope, Bart., of Pinkie. 
 
 Hope, Major. Mr. Horsburgh. 
 
 Hope, Mrs. John. Sir Henry Cook. 
 
 Hope, Dr. Thomas Charles, Professor of Chemistry, Edinburgh University ; died 1843. Seated in easy chair, 
 with book in right hand. Engraved by T. Hodgetts. Raeburn Exhibition, 1876. John Hope. 
 
 Hopetoun, General John, G.C.B., fourth Earl of (1765-1823). Remarkable for his stature ; served with 
 distinction in Peninsular War; elevated to peerage of United Kingdom as Baron Niddry, of Niddry 
 Castle, Linlithgowshire. Painted about 18J7. Engraved by W. Walker. Raeburn Exhibition, 1876. 
 Commissioners of Supply of the County of Linlithgow. 
 
 Hopetoun, G.C.B., General John. Replica. County Hall, Cupar. Raeburn made a copy of Ramsay's 
 portrait of the second Earl of Hopetoun for the Earl of Hopetoun. 
 
 Horner, Francis, M.P., political economist; born 1778; died 1817. In 1802 he removed to London, and five 
 years later was called to the English Bar. In 1806 he entered Parliament in the whig interest. He was 
 one of the earliest contributors to the Edinburgh Review. Bust portrait, face slightly to right ; square 
 forehead, brown hair and eyebrows, short, ruddy whiskers : grey eyes ; light coming from above to left, 
 throwing strong shadows over eyes ; black coat, high in tlie collar ; white cravat ; dark background, 
 greenish grey in tone behind the figure ; 30 X 24. Engraved by S. W. Reynolds, 1818. Bequeathed by 
 Lady Murray, S.N.P.G. 
 
 Horner, Francis, politician and political economist. Born in Edinburgh; died at Pisa. Seated, three- 
 quarter length ; face to the left ; 49^ X 39^. Painted in 1812. Presented to National Portrait Gallery, 
 July, 1877, by his nieces, daughters of Leonard Horner, Esq., F.R.S., in fulfilment of their father's 
 wishes. 
 
 Horner. Replica. Speculative Society, Edinburgh. 
 
 Horner. Replica of part. Earl of Rosebery. 
 
 Houston, Governor Alexander, of Clerkington, Haddingtonshire. Raebiuui Exhibition, 1876. Robert 
 Alexander Houston, Esq. 
 
 Houston, Mrs., of Clerkington. Raeburn Exhibition, 1876. Robert Alexander Houston, Esq. 
 
 Hume, David (1756-1838). Professor of Scots Law in Edinburgh University, 1786. Sir Walter Scott 
 attended his class. Nephew of famous historian, David Hume. Engraved by C. Turner, in 1822. 
 Raeburn Exhibition, 1876. Faculty of Advocates, Edinburgh. 
 
 Hume, David (1756-1838). Painted in 1822. Raeburn Exhibition, 1876. W.S. Society, Edinburgh. 
 
 Hume, Joseph, son of Professor David Hume. Lord Kingsburgh. 
 
 Hunt, William, of Pittencrieff, Fifeshire. Painted in 1810, Raeburn Exhibition, 1876. James A. Hunt, Esq. 
 
 Hunt, William. Replica. 
 
 Hunter, Dr. Andrew, of Barjarg. Professor of Divinity Edinburgh University, and minister of Troon Church ; 
 died 1806. Half length, in wig and gown and bands. Engraved by Dawe and Hodgetts. Raeburn 
 Exhibition, 1876. W. F. Hunter Arundell, Esq., of Barjarg. 
 
 Hunter, Mrs., of Burnside. Seated, three-quarter length. Mrs. Cox. (See Mrs. Douglas of Brigton). 
 
 Huntly, Marquis of. (See Duke of Gordon). 
 
 Hutton, Dr. James (1726-1797). Geologist; Published "Investigations of the Principles of Knowledge," 
 1794 and other works. Raeburn Exhibition, 1876. Sir George Warrendcr, Bart. 
 
 Hyndford, Thomas, Earl of. Seated, red coat, white trousers; 50 x 40. Wallis & Son, 1910. Mrs. Shute. 
 
 Hyndford, Countess of. Copy by Raeburn, after Allan Ramsay. Raeburn Exhibition, 1876. 
 
 Inglis, Admiral Charles, brother of Sir Patrick Inglis. Raeburn Exhibition, 1876. Sir J. D. DonWauchope, Bart. 
 
 Inglis, Henry David. Half length to left. Engraved by C. Turner. Bust of same by S. Freeman. 
 
 Inglis, Rev. Harry (copy). A. \V. Inglis, Esq. 
 
 Inglis, Henry Raeburn. See " Boy and Rabbit." 
 
 Inglis, Lady (Anne Coekburn), mother of Admiral Sir Charles and Sir Patrick Inglis. Wallis & Son, 1910. 
 
 Inglis, Sir Patrick, of Sunnyside, son of Sir John Inglis, of Cramond, and Anne Coekburn, of Ormiston. 
 
 Raeburn Exhibition, 1876. Sir J. D. Don Wauchope, Bart. 
 Inglis, William. 
 
 Innocence. Young girl in muslin; 34 x 27. Sedelmeyer, 1899. 
 Ironside, R. A., of Tannochside ; 25 X 30. Wallis, 1906. 
 
 Jackson, James. Commissioner of Excise. Raeburn Exhibition, 1876. Alexander Jackson, Esq., M.D. 
 Jaegar, J. M. Bueklitsch and pony. Earl of Kintore. 
 James, Mrs. (Doubtful). Christie's, 1910. 
 Jameson, John. John Jameson, Esq. 
 
 49 
 
LIST OF PICTURES— continued. 
 
 Jameson, Mrs. John Jameson, Esq. 
 
 Jamieson, jun., \^■illiam. Mci-chant in Glasgow ; died, 1826. Half length, life-size figure, slightly to the left ; 
 
 30 X 25. Painted in 1S05 as a gift to Jamieson's god-daughter, Catherine Rowand. Purchased by 
 
 Glasgow Corporation in 1897. 
 Jardine, Professor George, of Hallside. Engraved by Hodgetts. Mr. Jardine. 
 Jai'dine, Mrs., wife of Professor G. Jardine. Mr. Jardine. 
 
 Jardine, Sir Henry (1776-1821). Bust ; 30 x 25. Miss Cullen. Col. Home Drummond. Wallis & Son, 1910. 
 Jeffrey, Francis, Lord (1773-1850). Lord Advocate, 1830; M.P. for Edinburgh, 1832; raised to Bench in 
 
 1834; one of the projectors of the Edinburgh Reviiw. Engraved by Freeman. Raeburn Exhibition; 
 
 Raeburn Family. Earl of Rosehery, K.G., K.T. 
 Jeffrey, Patrick, uncle of Francis Jeffrey of the Edinburgh Review. Shepherd Brothers, 19)0. 
 Johnstone, Dr, David (1734-1824). Minister of North Leith, and founder of Blintl Asylum, Edinburgh ; 25 X 30. 
 
 Painted about 1809. Engraved by G. Dawe. Wallis & Son, 1910. Mrs. Uzielli Fisher (c), 1911. 
 Johnstone, Dr. David. Replica in Blind Asylum, Edinburgh. 
 Johnstone, Commodore George. Raeburn Exhibition, 1876. Mrs. Ferguson. 
 Johnstone, Commodore George. Replica. Agnew. 
 Johnstone, Admiral George. Half length, clean shaven, in naval dress, blue coat, cream coloured waistcoat, 
 
 with gold facings; 35 ■ 27. From the R.ieburn Family. R. and F., 1901. Lesser, 1905. 
 Johnstone, Mrs., wife of Commodore George Johnstone. In white dress, with a black lace scarf over her hair, 
 
 and falling over her shoulders ; seated looking at a miniature which she holds in her left hand ; red 
 
 curtain and landscape background. Dated on the back, 1791 ; 35 x 27v7, Raeburn Exhibition, 1876. 
 
 Scottish National Portrait Exhibition, 1884. \\'allis & Son, 
 Johnstone, James, of Straiton. Painted about 1800. In blue coat, wliite ve^^t, and white stocks; seated 
 
 in a crimson chair, turning over leaves of a book. 34J x 26^. Raeburn Exhibition, 1876. Sir William 
 
 Baillie, Bart., of Pulkemmet. Knoedler and Co. (c), 1911. 
 Johnstone, Mrs., wife of James Johnstone, of Straiton ; second daughter of Willliam Baillie, Lord Polkemmet. 
 
 Painted about 1800. In white high-waisted dress w-ith short sleeves; maroon cloak thrown over her 
 
 shoulders; seated on a stone seat, in a landscape. 3i\ X 26J Raeburn Exhibition, 1876. Sir William 
 
 Baillie. Baillie Family. Knoedler and Co. (c), 1911. 
 Johnstone of Alva, John, Dame Betty, and Miss \\'edderburn ; 39 :■ 46. Major Johnstone. Wood (c), 1906. 
 Johnstone, Lucy. (See .Mrs. Oswald). 
 Johnstone, Mrs., of Baldovie. 
 
 Johnstone, Mrs. Raeburn Exhibition, 1876. Mrs. Ferguson. 
 Johnstone, Sir William Pulteney. Miss Johnstone 
 
 Keith, Alexander, of Ravelston, Midlothian. Raeburn Exhibition, 1876 John .Murray Gartshore, Esq., of 
 Ravelston. The .Murray Gartshore family. 
 
 Kennedy, Thomas, of Duntu-e and Dalquharan ; 50 y. 40. Painted about 1812. 
 
 Kennedy, Rt. Hon. Thomas F., of Dunure ; 50 x 40. Raeburn Exhibition, 1876. Rt. Hon. T. F. Kennedy. 
 
 Kennedy, Mrs., of Dunure. Wife of Thomas Kennedy of Dunure, and daughter of John Adam, architect. 
 Three. quarter length, seated to the left, in a red covered arm chair ; long green cloak with a white lining, 
 open in front, green gown, and a close-fitting white cap, almost covering her hair; the right elbow^ rests 
 on the arm of the chair, and the left hand lies on her lap. A crimson curtain is looped up on the right to 
 show a distant view of Dunure Castle. Painted about 1811 ; 50 x 40. At Dalquharan Castle, Ayrshire, 
 the seat of the Kennedy family, there is another \ersion of this poi'trait. Presented to the Royal Scottish 
 Academy, National Gallery of Scotland, by .Mr. John Heugh, 1877. 
 
 Kennedy, Master. Earl of Iska. 
 
 Kent, Portrait of the Duke of (doubtful) ; 30 x 25. Mr. Heyman, 180 New Bond Street, W. 
 
 Ker, Sir James Innes, of Roxburghe; 30 x 25. Ichenbeuer sale. New York, February 27. Gillespie. 
 
 Ker, Lady Innes. Duke of RoxbLirghe, 
 
 Kerr, Charles, Mrs, of Calderbank. Colonel Stevenson. Colnaghi & Co. George Salting. This picture was 
 one of those rejecte*.! by the NationcU Galler)" Trustees, in making their selection of the Salting bequest. 
 
 Kerr, Mrs. ("(•<.' Wardrop) ; 30 x 25. Cottier & Co. Bought in (c) 1908, 
 
 King, Hon. Mrs., of Duniva In grey dress with black lace fichu and a flowered cloak round her arms, white 
 cap ; 29 X 24. Agnew (c), 1905. 
 
 King, Thomas, of Drums; 50 x 40. Dowager Lady Napier, Agnew, 1899. Forbes and Paterson's 
 Exhibition, 1901. 
 
 Kinnear. Mrs. George, Etched by Murdoch, and i-e-produced in .Sliidio, 1908. Lord Kinnear. 
 
 Kinneder, Lord, William Erskine, friend of Sir W. Scott ; 36 x 27. 
 
 Kinnoull.The tenth Earl of. Thomas Robert Hay; born 1785. Succeeded his father as 10th Earl, 1804; died 1826 
 Full length, standing in front in a I'oom, head turned to left ; in uniform, bare headed, his shako on 
 table beside him ; curtain and sky background , 93J X 59. Earl of Kinnoull. R,A, . 1906. 
 
 Lamb, Charles (?), Act 30 ; 28 x 24, Marquand Sale, New York, January 23, 1903, Laurie. 
 
 Lamont, .Mrs. («"' Lang), wife of Captain Lamont ; 24i x 29, R, W, Paterson, Esq., of Mass., U.S.A. 
 
 Lauzun, Mrs. H, W. (1776-1861) ; 29J X 24|. Painted in 1795, National Gallery. 
 
 Law, Agnes. See .Makgill. 
 
 Law, James, FR.CS E., of Elvingston, son of William Law; died 1830. Engraved by A. Hay. French 
 
 Gallery, Edinburgh, 1909. 
 Law, Mrs, Jane Robinson, wife of James Law, FR.C.S.E., of Elvingston; died 1846. French Gallery 
 
 Edinburgh, 1909. 
 Law, Janet, of Kembach House, Fifeshire. Seated, in landscape, looking to spectator, J. A. Holmes, Esq. 
 Law, John, of Elvingston. Engraved by G. Dawe. 
 
 5° 
 
LIST OF PICTVRES— continued. 
 
 Law, Miss Margaret. Seated, three-quarter length. John A. Holmes, Esq. 
 
 Law, William, of Elvingston, Sheriff of Haddingtonshire (1714-1806K Raeburn Exhibition, 1876. James 
 T. Gibson-Craig. French Gallery, Edinburgh, 1909. 
 
 Lawrie, Mrs. Kennedy. Seated to right, looking at speetator ; short black hair; low black velvet dress. 
 with short sleeves. Half length ; 29 x 24;V. Sedelmeyer. FIschoff-Blakcnsen sale. New York, 1900. 
 Brandus. 
 
 Leith, Mrs. George, of Overhall {nCe Elizabeth Dalrymple). Sir E. H. Dalrymple-Home-Elphinstone, Bart. 
 
 Leslie Boy, The ; 30 x 24J. This portrait represents one of the artist's step-children. When Raeburn was 
 twenty-two in 1778, he married a lady of some fortune, who was several years his senior. This was 
 Ann, daughter of Peter Edgar, factor to the EaH of Selkirk, and laird of Bridgelands, in Perthshire. She 
 was the widow of " Count " James Leslie, one of the Leslies of Balquhun in Aberdeenshire. His foreign 
 title of nobihty was gained by proceedings not strictly directed to the prosperity of the House of Hanover. 
 He left her a widow with three children, and the house and property of Deanhaugh, to the west of 
 Edinburgh, near the present Dean Bridge, which spans the deep gorge of the Water of Leith. Raeburn 
 treated her children as though they were his own, and won their love and regard in a very unusual 
 degree. Sir Edward Tennant. 
 
 Lewis, W. T., comedian, in buff coat and red vest, seated ; 34J x 26i. Christie's, 1906. (Doubtful). 
 
 Liddell, Mrs., {nee Jane Hobbuck), mother-in-law of Judge Cay. In" white dress with yellow sash, and black 
 shawl ; powdered hair; 29 x 24. Raeburn Exhibition, 1876. Cay. Agncw (c), 1910. 
 
 Liston, Sir Robert, K.G., C.B., Bart. Sir James Liston-Foulis, Bart. 
 
 Liston, Lady, wife of Sir Robert Liston. Sir James Liston-Foulis, Bart. 
 
 Lindsay, Alexander of Pinkieburn. Painted about 1807. Raeburn Exhibition, 1876. Rev. W. Lindsay- 
 Alexander, D.D. 
 
 Lindsay, Rev. James, of Pinkieburn, minister of Kirkliston, Linlithgowshire; died, 1796. Raeburn Exhibition, 
 1876. Rev. W. Lindsay-Alexander 
 
 Lindesay, Colonel, John Scott (when a boy) Raeburn Exhibition, 1876. Miss Sands. 
 
 Liston, Sir Robert, K.G.C.B. ; 30 x 25. 
 
 Liston, Lady ; 30 x 25. 
 
 Livingstone, Rev. Archibald, minister of Cambusnethan. Raeburn Exhibition, 1876. Dr. James Livingstone. 
 
 Livingstone, E. 
 
 Loch, Miss. Mrs. Atherton. 
 
 Lockhart, John Gibson, Novelist writer, son in-law of Sir Walter Scott, and author of a life of the latter. 
 Born, Glasgow, 1793; died Abbotsford, 1854. Seated to the right, looking at spectator; black hair; 
 white necktie, yellow waistcoat, and blue coat with gold buttons ; right arm rests on back of chair, 
 and he holds a book in his left hand. Half length. Sedelmeyer, 1900. Forbes and Paterson's 
 E.xhibition, 1901. 
 
 Lockhart, Mrs. 
 
 Loudon, Flora, Countess of, in her own right (with Patrick, Earl of Dumfries) ; married in 1804, to Francis, 
 First Marquis of Hastings ; died, 1840. Raeburn Exhibition, 1876 ; Marquis of Bute. 
 
 Lothian, Baillie Walter, Treasurer of George Watson's Hospital. R.ieburn Exhibition, 1876 Merchant 
 Company of Edinburgh. 
 
 Lothian, K.T., William, sixth Marquis of; died in 1824. Raeburn Exhibition, 1876. Marquis of Lothian. 
 
 Low, Adam, of Fordel, Provost of Dunfermline ; 1787-89. Raeburn Exhibition, 1876. Magistrates and 
 Town Council of Dunfermline. 
 
 Lyon, Lieut. -Col. Raeburn Exhibition, 1876. David Smith. Esq. 
 
 Lyon, Mary, daughter of the Earl of Strathmore, 89 c. x 69 c. Gallerie Charles Brunner, Paris, 1908. 
 
 Macartney, Miss, daughter of Sir John .Macartney, and Anne Scrivcn, daughter of Edward Scriven, who was 
 
 descended from the Barclays of Urie ; 50 x 40. Gooden, 1889. Forbes and Paterson's Exhibition, 1901. 
 
 Pawle. D. H. King sale, New York. Pulitzer. 
 Macartney, Miss ; 36 X 28. Wallis & Son, 1910, Major Thorburn. 
 Macdonald, of Clanranald. Turned to the right, looking at spectator; green coat, red vest, and white 
 
 necktie. Half length ; 29 x 24J. Purchased from the family. Raeburn Exhibition, 1876. Sedelmeyer, 1902. 
 Macdonald, Colonel, of St. Martins. Full length seated ; book in right hand ; left resting on desk at window 
 
 curtain, dark background. Fairmount Park Art Gallery, Philadelphia, U.S.A. 
 Macdonald, William, of St. Martins; 83 x 59. Highland and Agricultural Society. Edinburgh. 
 Macdonald, Jean; 30 X 25. Bass, 1903. 
 
 Macdonald, Miss. Miniature. Glasgow International Exhibition, 1901. T. S. Robertson, Esq. 
 Macdonald, Reginald George, of Clanranald (1788-1873); and his two younger brothers. Reproduced in 
 
 " Fiftv Portraits of Raeburn," 1909. Mrs. Ernest Hills. 
 Macdonald, Colonel Robert ; 50 x 40. Fischoff, 1908. 
 Macdonald, William, of St. Martins, Perthshire (1732-1814). Painted, 1803. Raeburn Exhibition, 1876 
 
 Highland and Agricultural Society of Scotland. 
 Macdonall, Alastair, Chief of Glengarry, said to have been the original of " Fergus Mclvor " in " Waverley " ; 
 
 died 1828. Full length, in Highland costume ; right hand holding gun ; left at his side ; shield, horn, etc.. 
 
 in background; 96 x 60. Painted about 1800. Engraved in mezzotint by Thomas Hodgetts. R.A. 1812 
 
 lent by John Cunninghame, Esq., of Balgourie, to Scottish National Gallery. 
 Macdonell, Admiral Somerled. In uniform; body to right; face almost full. Lent to Scottish National 
 
 Exhibition, 1908, by John Cunninghame, Esq 
 Macdougall, Allen, of Gallanach, Argyleshirc (1768-1807) ; ,34^ x 26i. Wallis, 1900. Sir J. Stirling 
 
 Maxwell, Bart. 
 Macdowell, General Hay. H. D. Erskine, Esq. 
 Macgregor, Major. 48 x 38. Wyker (c) 1907. 
 Macintosh, J. 30 x 25 1898. 
 
 51 
 
LIST OF PlCTVRES—coniinued. 
 
 Mackenzie, Colonel Alexander, the younger, of Rodmore. Painted about 1800. Full length ; he leans against 
 
 a horse in a landscape ; blue grey coat, light trousers, top boots ; right hand gloved holds glove and hilt 
 
 of sword ; busby on liead. On loan to Brighton Art Galleries by the Trustees of the late C. J. 
 
 Mackenzie, Esq., of Portmore, Scotland. 
 Mackenzie, Alexander, of Portmore, Painted 1822. Half length; seated in red chair; grey coat, white 
 
 scarf, grey wig; red curtain and glimpse of landscape; 35x27. On loan to Brighton Art Galleries 
 
 by the Trustees ofthe late C. J. Mackenzie, Portmore, Scotland. 
 Mackenzie, Mrs. Alexander, of Portmore, Raeburn Exhibition, 1876. Colin J. Mackenzie, Esq., of Portmore. 
 Mackenzie, Sir Alexander, fifth baronet of Coul. Sir Arthur G. R, ,Mackenzie, Bart. 
 Mackenzie, Lady, wife of above. 
 Mackenzie, Colin, the younger, of Portmore. A lad about twelve or fourteen years of age; fresh smiling 
 
 face; grey coat, white ruffied collar and yellow waistcoat; grey background; 29 y 25. On loan to 
 
 Brighton Art Galleries by the Trustees of the late C. J. Mackenzie, Esq., of Portmore, Scotland. 
 Mackenzie, Sir Alexander Muir, of Delvine (1764-1835) ; 49 -' 40. Sir Alexander Muir Mackenzie, Bart. 
 
 Agnew (c) 1904. 
 .Mackenzie, Lady Muir. 
 Mackenzie, Colin, of Portmore, Scotland. Three-quarter length, seated, in a landscape; short grey hair, 
 
 black coat, grey riding breeches, top boots; left leg crossed over right; 49 x 39. On loan to 
 
 Brighton Art Galleries by the Trustees ofthe late C. J. Mackenzie, Esq., of Portmore, Scotland. 
 Mackenzie, .Mrs. Colin, wife of Colin Mackenzie, of Portmore, Clerk of Session, and a friend of Sir Walter 
 
 Scott. Seated, in a landscape ; white dress, brown hair, full face ; arms lying in her lap; 49 X 38J. On 
 
 loan to Brighton Art Galleries by the Trustees of the late C, J. Mackenzie, Esq., of Portmore, Scotland. 
 Mackenzie, The Hon. Francis John, of Seaforth, supposed to be a brother of the last Lord Seaforth. (?) 
 
 Raeburn Exhibition, 1S76. The Misses .Mackenzie. 
 .Mackenzie, Sir G. S., when a boy. Sir Arthur G. R. Mackenzie, Bart. 
 Mackenzie, Sir Geoige Steuart, Bart., of Coul (1780-1848) ; Vice-President ofthe Royal Society of Edinburgh. 
 
 Painted about 1811. Raeburn Exhibition, 1876. Rev. John .Mackenzie. 
 Mackenzie, Lady (17,54-1829), mother of Sir George Steuart .M.ickenzic, seventh Baronet of Coul, Painted 
 
 about 1794. RachLirn Exhibition, 1876. Rev. John .Mackenzie. 
 Mackenzie, Henry (1745-1831 ) Sir Walter Scott called this writer the " Scottish Addison." A lawyer by 
 
 profession, he wrote the " Man of Feeling," and was among the first to study German literature, and in 
 
 1788, published a " Memoir on German Tragedy," and in 1791, " Tr.^nslations from Lessing " ; 29|; x 24|. 
 
 Purchased in .May, 1877, by the Trustees of National Portrait Gallery Half length ; face three-quarters 
 
 to the right. Engraved by B. Smith. 
 Mackenzie, Henry. Forbes & Paterson, 1901. (There is another portrait of .Mackenzie by Raeburn |, 
 Mackenzie, Master, and his Dog ; The boy is seated on a stone bench, looking to the right. His right hand 
 
 holds his whip, while his left one is resting on a fine Newfoundland dog. Landscape background; 
 
 43J X 33.J. Sedelmeyer, 1895, 
 Mackenzie, Mrs, Three-quarter, seated in green garden chair, set in a landscape; black bodice and white 
 
 dress; 50 x 40. Sedelmeyer Galerie, 1908. A, Sanderson, Esq. Agnew's, 1908, 
 Mackenzie, Mrs. Lewis. (See Ross, Grace Lockhart), 
 .Mackenzie, The Hon. William, of Seaforth. Colonel Mackenzie Eraser. 
 .Macleod, Donald, of Geames, Sheriff of Ross-shire (1753-1834). Painted about 1800. Raeburn Exhibition, 
 
 1876, Rev. John Mackenzie. 
 .Macleod, General Nojnian, of Macleod. Macleod of Macleod. Wallis&Son, 1911. 
 -Macleod, .Mrs., second wife of General Norman .Macleod of .Macleod, 
 .Macleod Sir William, (See Lord Bannatyne). 
 
 Macnah, The, Head of the Clan and twelfth l.iird. The Hon. .Mrs. Baillie Hamilton, 
 Moeneil, Jean ; 48 x 40 Wigzell, 1895. 
 Macneil, Roderick, of Barra, Chief of the Clan, in blue coat and w hite frill, holding a gun in his right hand. 
 
 Three quarter length ; 50 X 40, Christie's, IS98. 
 Maconochie. The Hon, Allan of iVleadowhank, first Lord Meadowbank, Judge of Court of Sessions. Painted 
 
 about 1814. Raeburn Exhibition, 1876; Allan A. Maconochie Wellwood, Esq, 
 Maconochie, .Mrs., wife ofthe Hon, Allan ,Maconochie. (See Wellwood). 
 .Machonochie, Mrs,, and child. Louvre. Not the picture lent to Exhibition of artist's works, Edinburgh, 
 
 1876, but probably the picture sold at Christie's in 1902-03 
 .McCall, .Mrs., of Ibroxhill. Half length to left, almost full face. Reproduced in " Fifty Portraits of 
 
 Raeburn," 1909, T. Dcnrochc Smith, E-,q. 
 McCormick, Edward, Sheriff "of Ayrshire ; 49J x 39J, Raeburn Exhibition, 1876. Faculty of Advocates 
 
 Edinburgh. 
 .McCrae, Portraits of the Family. .Mrs. Alexander McCrae, Alexander McCrae, jun., Thomas Ann McCrae. 
 
 Mother and girl in white, boy red jacket, white frilled collar, yellow trousers and waistcoat ; red curtain ; 
 
 landscape : 50 x 40. Captain Spender Clay, of Lingfleld. Wallis & Son, 1910 
 .McMurdo. Lieut. -Colonel Brycc ; 94 x 53. National Gallery. 
 Macqueen, Robert. (See Lord Braxfield). 
 .Macqueen, .Mrs. (See Ord, Elizabeth). 
 .Madonna, Head of a. A miniature. 
 Mair, Mrs. Margaret {iice Thompson), of Plantation, near Glasgow. In green silk dress with white flchu, 
 
 and white lace cap ; seated to the right, in a red chair, before a spinning-wheel, which she is working 
 
 with her foot ; she draws a thread from the distaff with her left hand. 5SJ x 46J. Mrs. Sarah Hadden, 
 
 Pearson (e) 1911. 
 Maitland, Rear-Admiral, eldest son of Colonel the Hon. Richard Maitland, and grandson of the sixth Earl ot 
 
 Lauderdale; died 1836, Raeburn Exhibition, 1876. Naval and Military Exhibition, Edinburgh, 1889. 
 
 Misses Raeburn. 
 
 5a 
 
LIST OF P\CrVRES—conlin,ied. 
 
 Maitland, Lady Catherine, daughter of Daniel Connor, Esq., of Ballybricken, co. Cork, and Orme Square, 
 London ; married at Cork, April, 1804, Sir Frederick Lewis Maitland (grandson of the sixth Earl of 
 Lauderdale), Rear-Admiral and K.C.B,, Admiral Superintendent of Portsmouth Dockyard, Captain of the 
 Bellerophon on the surrender of Napoleon Bonaparte on board that ship, July 15, 1815. Lady Maitland 
 died at Lindores, co. Fife, in 1865. Nearly whole-length figure, seated, in a landscape under a tree, 
 directed to left, and looking at spectator, nearly full face ; in white dress cut to V-shape at neck, slate- 
 coloured shawl round shoulders, wearing gold neck-chain from which is suspended a pearl (or very small 
 locket); brown hair falling in ringlets over forehead and bound with dark velvet ribbon; hands folded 
 in lap, blood-colour signet ring on index finger of left hand; landscape and hills in distance to left; 
 50 X 40. Painted about 1817. Engraved by Norman Hirst. Exhibited Raeburn Exhibition, Royal Academy, 
 Edinburgh, 1876. No. 215 (Rear-Admiral W. H. Maitland-Dougall, of Scotscraig). Agnew's Eleventh 
 Annual Exhibition, November-December, 1905, No. 15. Wallis & Son, 1910. J. Pierpont Morgan, Esq. 
 
 Maitland, Judge. 24J x 29. Wallis & Son. 
 
 Makgill, Captain George, of Kembach House, Fifeshire. Three-quarter length, seated in green chair in 
 landscape ; red coat, yellow lapels, yellow waistcoat and trousers; 30 X 25. French Gallery, Edinburgh, 
 1909. Wallis & Son, 1910. Major Thorburn. 
 
 Makgill, Mrs. (Agnes Law, a descendant of Law, the banker), wife of Captain George Makgill, of Kembach 
 House, Fifeshire. Three-quarter length, seated, in landscape ; brown hair, powdered and bound in white 
 band ; white dress, grey blue sash ; brown shawl on chair ; 50 x 40. WaUis & Son, Edinburgh and 
 London, 1910. Major Thorburn. 
 
 Malcolm, K.C.B., Colonel Sir James. Naval and Military Exhibition, Edinburgh, 1889. W. E. Malcolm, Esq., 
 of Burnfoot. 
 
 Malcolm, Mrs., of Burnfoot. 
 
 Mar, John Francis, seventh Earl of. Lent to Glasgow International Exhibition, 1901, by the Earl of Mar 
 and Kellie. 
 
 Mar, John Francis, Earl of. Earl of Mar and Kellie. 
 
 Marcet, Dr. Alexander. Engraved by H. Meyer. 
 
 Maxwell, Miss, Harriet, of Pollock (1789-1841); daughter of Sir John Maxwell, seventh baronet. Raeburn 
 Exhibition, 1876. Sir William Stirling Maxwell, Bart. 
 
 Maxwell, Sir John, Bart., of Pollock (1791-1865). Unfinished. Sir John Stirling Maxwell, Bart. 
 
 Maxwell, General Sir William, of Calderwood, seventh baronet (1754-1837). Raeburn Exhibition, 1876. 
 Sir William Maxwell, Bart. Colonel Neilson. 
 
 Maxwell, Sir William, sixth Baronet of Calderwood, Lanarkshire; born in 1748; married 1807, Hannah 
 Leonora, daughter of Robert Pasley, of Mount Annan; died without issue in 1829; 50 x 40. Three- 
 quarter length ; almost full face ; in uniform, red coat, gold epaulettes, black collar and cuffs, buff 
 trousers; right thumb in sash ; left hand grasps sword hilt ; dark brown background ; 50x40. Reproduced 
 in colour in Studio, 1908. Captain Gill. W. Lockett Agnew, Esq. (o) 1908. 
 
 Meadowbank, the Hon. Alexander Maconochie Wellwood, second Lord, of Meadowbank and Garvoch 
 (1771-1861). Engraved by Dick. Raeburn Exhibition, 1876. Allan A. Maconochie Wellwood, Esq. 
 
 .Meadowbank, the Hon. Allan Maconochie, First Lord of Session (1748-1816). (See Maconochie). 
 
 Meath, the Right Rev. Lord Bishop. (See O'Beirne). 
 
 Melville, Henry Dundas, Viscount; born 1742. A distinguished lawyer and statesman; filled several high 
 offices; created Viscount Melville, 1802. Impeached for alleged malversation as Treasurer of the Navy, 
 1805, but acquitted; died 1811. Three-quarter length, to right, in wig and gown, right hand on table; 
 left at side. Curtain. Engraved by S. Freeman in line, 1831, and by G. Dawe. Raeburn Exhibition, 
 1876. Bank of Scotland. 
 
 Melville, Viscount. Replica. Half figure to right, in robes and wig. Curtain in background ; 29 x 24^. Sir 
 William Agnew, Bart. R.A., 1903. 
 
 Melville, Viscount. M. Colnaghi (R. & F.), 1908. Ichenhauser. 
 
 Melville, John Whyte, of Bennochy. Balfour Melville, Esq. 
 
 Melville, General Robert, of Strathkinness. Balfour Melville, Esq. 
 
 Menzies, Sir Robert, fifth Baronet. Painted about 1802. Sir Robert Menzies, Bart. 
 
 Mercer, Mrs. {nee Wilson) ; 20 x 25. Herr D. Heinemann, of Munich. 
 
 Millar, Patrick, of Dalswinton. Three-quarter length, with horse, in uniform of Dumfries-shire Yeomanry. 
 Wallis & Son, 1910. 
 
 Miller, Sir Thos. (See Glenlee). 
 
 Miller, Lady, of Glenlee, Kirkcudbright; died 1846. Raeburn Exhibition, 1876. A. W. Miller, Esq. 
 
 Mills, William, Lord Provost of Glasgow (1834-1337). Half length, head to right, white necktie and ruffled 
 shirt ; 30 X 25. Presented by the trustees of George iMills, in 1892. to the Corporation Galleries, Glasgow. 
 
 Milne, Admiral Sir David, G.C.B. (1763-1845). Full length, standing in uniform; Algiers in the background. 
 Colonel Milne Home. (See letter in text). 
 
 Minto, Anna Maria, Countess of, wife of first Earl of Minto, Governor-General of India, and daughter of Sir 
 George Amyand, Bart.; 24i X 29. W.G.Elliot. Wallis & Son (c), 1905. A. Baumgarten, Esq., of Montreal. 
 
 Moir, Miss Annie. R. W. C. G. Henderson, Esq. 
 
 Molesworth, Sir Arscott Curry, Baronet, of Pencarrow, Cornwall. Mrs. Ford. 
 
 Moncrief, .Margaret, afterwards Mrs. Pattison. Seated to the left on a green garden chair, looking at the 
 spectator, her hands crossed in her lap; she wears a white kerchief over her dark hair, and a white 
 muslin dress with a black mantilla round her body. Landscape background. Three-quarter length, life- 
 size ; 49} X 39J Laurie. Duveen (c), 1904. Scdelmeyer, 1906. 
 
 Moncrieff, Rev. Sir Henry Wellwood, D.D., eighth Baronet; an eminent divine, author of a work on the 
 " Constitution of the Church of Scotland " and " Life of Dr. Erskine " ; in black coat with white stock, 
 figure to the left ; 30 x 25. Engraved by E. Scriven and Charles Turner. Mentioned in Andrew's " Life 
 of Sir Henry Raeburn." Raeburn Exhibition, 1876. Sir Daniel Macrce, P.R.A. S.G.Morrison, Esq. 
 Harvey (c), 1900. James Orrock, Esq. Agnew (c), 1904. 
 
 53 
 
LIST OF PICTURES— continued. 
 
 Moncrieff, Rev. Sir Henry Wellwood, Bart. Church of Scotland Widows Fund Trustees. 
 
 Moncrieff, Rev. Sir Henry Wellwood, Bart. Lord Moncrieff. 
 
 Moncrieff, Robert Scott. Orphan Hospital, Edinburgh. 
 
 Moncrieff, Mrs. Scott, Miss Margaritta MacDonald, wife of Mr. R. Scott Moncrieff (afterward Scott Moncrieff 
 Welwood). Head and shoulders, the figure is turned towards the spectator, the head looks to the right, 
 and is tilted backwards. Her hair clusters in a big wavy curl on each brow, shadowing her eyes, the 
 light falls from the left front, over her low square-cut gown of mellow-white ; she wears a loose red cloak, 
 which envelops her shoulders, and, hanging open in front, is caught together again near the bottom of the 
 canvas; 30x25. Etched by C. O. Murray, for the "Portfolio," "1879. Engraved in Mezzotint, by 
 Thomas G. Appleton, 1887. Photographed bv Annan. Bequeathed to the Royal Scottish Academy, 
 National Gallery of Scotland, by Mr. R. Scott Moncrieff Welword, of Pitliver, 1887. 
 
 Moncrieff, Mrs. Robert Scott, of Wellwood and Pitliver. Replica. Thomas J. Barratt, Esq. 
 
 Monro, Dr. Alexander. Engraved by J. Heath. 
 
 Monro, Alexander Binning. (See the sons of D. M. Binning). 
 
 Monro, Mrs. Katherine, younger daughter of David Inglis ; born, 1741; married Dr. Alexander Monro 
 (Secundus) ; died, 1803. Painted 1799; 30 x 2.5. Agnew (c), 1908. 
 
 Monteith, Sir Charles Granville Stuart, of Clowburn and Mansfield. Seated three-quarter length. At 
 Mansfield, Old Gumming. 
 
 Monteith, Henry, when a boy; in green coat and black tie. (R. and F.), 1903. Gamble. 
 
 Monteith, Henry, MP. ; 1765-1848. Mr. Monteith. 
 
 Monteith, Mrs. James (Miss Margaret Thomson, of Camphill). Painted about 1820. Raeburn Exhibition, 
 1876, Mrs. Walter C. Smith. 
 
 Monteith, Rev. James Stuart. Seated three-quarter length. Painted, 1792. At Mansfield, Old Gumming. 
 
 Monteith, Ludevina Stuart. Seated three-quarter length. Painted about 1792 or 3. At Mansfield, Old 
 Gumming. 
 
 Montgomery, Right Hon. Sir James, Bart. Trustees of William Campbell Walker, Esq., on loan to S.N.P.G. 
 
 Montgomery, Sir James, Baj-t. (1721-1803). Loi-d Chief Baron of Exchequer; Solicitor-General, and Lord 
 Advocate. In black dress and gown, white wig and bands, seated at a table on which are a mace and 
 some papers. Replica ; 90 X 59. Raeburn Exhibition, 1876. Buttery (c)l. Kaiser Frederick, iMuseum, 
 Berlin. 
 
 Montgomery, Sir James, Bart. 
 
 Montgomery, Sir James, second Baronet of Stanhope, Peebles-shire, Lord Advocate, 1804. Three-quarter 
 length ; seated against a tree in a landscape ; blue coat, white collar and scarf, buff riding trousers, top 
 boots; 49 x 39. On loan to Brighton Art Galleries by the Trustees of the late C. J. Mackenzie, Esq., 
 of Portmore. 
 
 Montgomery, Sir James. Replica. 
 
 Montgomery, Lady, wife of Sir James Montgomery, second Baronet ; and daughter of Dunbar, fourth Earl 
 of Selkirk; died 1814, Painted about 1810. Raeburn Exhibition, 1876. Sir G. Graham Montgomery, 
 Bart. ; Sir Basil Montgomery, Bart., Kinross. 
 
 Montgomery, Lord. (See Earl of Eglinton). 
 
 Montgomery, Robert, Advocate, was born in 1774, and died in IS54. He was son of Sir James Montgomery, 
 chief Barnn of Exchequer, and father of Dean Montgomery. Three-quarter length ; seated towards left, 
 the figure almost front, the crossed legs turned towards the right, Ihe hands lying clasped on the knee ; 
 the face seen almost front is shaven, except for a small side whisker; the hair and eyebrows are iron 
 grey, the eyes a warm brown. His double-breasted blue coat is partially buttoned, and he wears tight 
 buff riding breeches and top boots ; plain grey brown background ; 48^ x 38^. Bequeathed by 
 Dean Montgomery, S.N.P.G. 
 
 Montgomery, Robert. 
 
 .More, Miss Hannah. Seated three-quarter length; cap, and white dress; right arm resting on cabinet, 
 left in her lap. Louvre. 
 
 Morrison, Susanna; 30 x 25. Laking, 1901. 
 
 Morrison. Lieut. -Col. William. Painted in 1811 ; 35 X 25. Agnew, 192.0 
 
 Morrison, Lieut.-Col. ; 31 J X 27. P. Smith, 1894. 
 
 Muirhead, Robert, of Cory Leckie ; 29 y 25. Lionel B. C. Muirhead, Esq. 
 
 Muirhead, Mrs. Robert, daughter of .Mr. Dunlop, of Househill ; 29 x 25. Lionel B. C. Muirhead. 
 
 Munro, Sir Thomas, of Lindcrtis. The Muni-o Family. 
 
 Munro, Mrs., mother of Sir Thomas Munro. The Mtmro Family. 
 
 Munro, Mrs. 30 x 25. White dress, and cloak tied at neck with ribbon ; hair hanging in curls on forehead. 
 Victor Morawitz, Esq., New York. 
 
 Murchison, Miss Barbara. Three-quarter length ; seated dressed in white, short-waisted gown ; hands in 
 lap; brown curling hair ; landscape background ; 36:1 ■ 27J. Reproduced vol. XII., page 250, Burlington 
 Magaziiir. R. F. Murchison. Colnaghi & Co. (c) ; 1903". Buda-Pest Musee des Beaux Arts. (See 
 letter in text). 
 
 Murdoch, George, Lord Provost of Glasgow. Mr. Yuille. 
 
 Mure, Thomas, of Warriston. Miss Mure. 
 
 Mure, Mrs., of Warriston. Miss Mure. 
 
 Murray, Miss Janette ; 30 x 25. Willson (c), 1903. 
 
 Murray, Sir John Archibald, Lord of Session (1779-1859). Advocate; first M.P., for Leith, after the Reform 
 Act ; one of the founders of Edinburgh BcvicuK Raeburn Exhibition, 1876. Engi'aved bv W. Walker. 
 Right Hon. T. F. Kennedy, of Dunure. The Family. 
 
 Murray, John, and his brother. John was an eminent engineer, and built the Sunderland Docks. The two 
 boys are walking in a landscape to the right. The elder in a brown di-ess carries a fishing rod on his 
 shoulder, the younger in green dress, and wearing a tartan cap, holds on to a large dog that is walking 
 between them. Three-quarter length, life-size ; 48^ x 38. Sedelmeyer, 1906. 
 
 54 
 
LIST OF PICTVRES— continued. 
 
 Murray, Mary and Grace ; 60 x 25. Mawson (c), 1902. 
 
 Murray, Sir William, fifth Baronet of Ochtertyre, Peebles-shire. Married in 1770, Augusta, daughter of 
 George, third Earl of Cromartie ; died 1800. Raeburn Exhibition, 1876. Sir Patrick Keith Murray, Bart. 
 
 Naesmyth, Lady; 35 X 27J. Eleanor, second daughter of John Murray, Esq., of Philiphaugh ; married, 1785, 
 Sir James Naesmyth, of Rosso, fourth baronet ; died 1807. Half figure, seated to right at a table, holding 
 a book in right hand ; white dress, with coloured scarf; fair hair. General D. Anderson, R.A., 1906. 
 
 Nairne, Captain Alexander, H.E.I.C.S. Pamted about 1813. Raeburn Exhibition, 1876. Rev. Spencer 
 Nairne, rector of Hunsdon. 
 
 Nairne, Sir William. (See Dunsinnan). 
 
 Napier, Sir William. In red hunting costume, buff breeches and top boots ; standing in a landscape, looking 
 to left, his left arm resting on a pedestal, and holding his hat in his left hand ; in his right hand he 
 holds a riding whip, which he supports on his hip. Full length, life-size; 90 x 56J. Sedelmeyer, 1906. 
 
 Newbiggin, James, of VVhitehouse. In green coat and white stock; powdered hair. 29 x 24. Raeburn 
 E.xhibition, 1876. Adam RoUand, Esq., of Gask. Weekes (c) 1911. 
 
 Newbiggin, Mrs. Three-quarter length. In white dress, with black shawl over her arms; powdered 
 hair ; landscape background. 28>} x 24. Painted about 1795. Raeburn Exhibition, 1876. Adam 
 RoUand, Esq., of Gask. Mrs. Rainy. Agnew's, 1910. C. Davis, Esq. (c) 191 1. 
 
 Newton, Lord, Charles Hay, of Newton ; born 1740 ; called to the Bar, 1768; he became a Lord of Session 
 in 1806; died 1811. Bust portrait. The round, clean-shaven face looks straight out; the shoulders, 
 enveloped in the red of a judge's robe, are turned slightly to the left ; light falls from the left front, and 
 is concentrated upon the face and upper part of the white bands; the background is dark brown, the 
 lower part of the figure obscured in shadow ; 30 X 25. Engraved in mezzotint by Charles Turner, 1814. 
 Photogravure in " Portfolio," 1887. Engraved on wood by Timothy Cole for The Century, 1898. 
 Photographed by Annan. Bequeathed by Mrs. Malcolm Laing, 1864, to Scottish National Gallery. 
 
 Newton, Lord. Lent to Glasgow International Exhibition, 1901, by R. C. Munro-Ferguson, Esq., M.P. 
 
 Newton, Lord. Henry Graves. 
 
 Newton, Lord. Three-quarter length, in robes, head and shoulders similar to bust portrait in National 
 Gallery, Scotland, formerly in Craig House, Forfarshire. Sir G. Macpherson Grant (?) 
 
 NicoU, Rev. Francis, D.D., Principal of the United College, St. Andrews; died 1835. Raeburn Exhibition, 
 1876. Ministers' Widows' Fund, Church of Scotland. 
 
 Nisbet, Jane, as a child, afterwards Mrs. Jordon, of Harperfleld. Half length, oval; dressed in white; 
 30 x 25. Wallis & Son, 1910. Mrs. Shute. 
 
 Northampton, Margaret, wife of the second Marquis of, and daughter of Major-General and Mrs. McLean 
 Clephane. Forbes & Paterson's Exhibition, 1901. 
 
 Northampton, Marquis and Marchioness of. (See Earl and Countess of Compton). 
 
 O'Beirne, Rev. Lucius, Bishop of Meath, 1796, and Private Secretary to the Lord-Lieutenant of Ireland. 
 
 Seated in armchair turned to the right nearly full face ; black dress and powdered wig ; dark background. 
 
 Three-quarter length, life-size; 50 x 40. E. H. Willett Collection; R.A., 1888, ascribed to J. Hoppner. 
 
 Sedelmeyer, 1896. Now in Dresden Art Gallery, 
 O'Beirne, Mrs., wife of Rev. Lucius O'Beirne. 
 
 Oliphant, David, March (e), 1907. Colnaghi & Co. Alexander Reid, Esq. 
 Ord, Miss Elizabeth, wife of Robert Macqueen, Lord Braxfield, and daughter of Robert Ord, chief Baron of 
 
 Exchequer in Scotland. Painted about 1790. Raeburn Exhibition, 1876. John Ord Mackenzie, Esq., of 
 
 Dolphinton. 
 Orde, Colonel. In dark coat, with white stock. 29J x 24J. Colnaghi & Co. (c) 1911. 
 Oswald, Mrs., of Auchincruive {iiee Lucy Johnstone), daughter of Colonel Johnstone, of Hutton Hall, 
 
 Berwickshire, Burns' Ballad, "Wat ye wha's in your toun ? " was written in her praise. In white 
 
 dress open at the neck, gold earrings, figure to the lelt ; 29.1; x 24J. Raeburn Exhibition, Edinburgh, 1876. 
 
 Engraved by Ryall. From the collection of J. T. Gibson-Craig, Esq., 1887. Christie's, 1902. Colnaghi 
 
 and Co. Tooth. There is a replica. 
 
 Paterson, children of Mr. and Hon. Mrs. Paterson, of Castle Huntly. Reproduced in "Fifty Portraits of 
 
 Raeburn," 1909. Charles J. G. Paterson, Esq. 
 Paterson, George, of Castle Huntly. C. J. G. Paterson, Esq. 
 
 Paterson, Mrs. Monerieff, (Dowells, Edinburgh) ; 50 x 40. Paterson. Lawrie, 1904. 
 Patterson, J., Esq., Engineer of the Leith Docks and Caledonian Canal. From the collection of Captain 
 
 Maitland, of the Hussars, a great-grandson of Mr. Patterson; 40 X 50. Wallis & Son. 
 Pattison, John, of Kelvingrove (1755-1807). Mr. Pattison. 
 Pattison, Mrs. Mr. Pattison. 
 Peat, Mrs., and daughters ; Janet Ewart, wife of John Peat, S.S.C. of Edinburgh, with her two youngest 
 
 daughters, Janet and Anne. The latter became a poetess and died in 1885, aged ninety-five. From the 
 
 collection of Rev. Alex. C. H. Anderson, B.D., great-great-grandson of Mrs. Peat; 39J x 51. T. Agnew 
 
 and Sons. 
 Perth, Lady, and daughter, Lady Willoughby d' Eresby. Lady, three-quarter length, seated in landscape ; 
 
 girl standing on seat; 50 x 40. Engraved m " Fifty portraits of Raeburn," 1909. Earl of Ancaster. 
 Phillips, Mrs. John, of Stobcross, Glasgow, in grey dress and gloves, with white shawl, white gauze scarf, 
 
 and cap with bow ; seated ; 28 x 24. Exhibited Grafton Gallery. Asher Wertheimer (e) 1898. 
 PiUans, Professor James (1778-1864). Engraved by C. Turner. Edinburgh Institute, 1822, and Raeburn 
 
 Exhibition, 1824. 
 Pitcairn, John. National Gallery of Scotland. 
 Pitcairn, Mrs. National Gallery of Scotland. 
 Pitcairn, John Provost, of Dundee ; 35 x 26. Wallis (c) 1904. 
 
 55 
 
LIST OF PICTURES— fOH//n«^d. 
 
 Pitcairn, Mrs. 35 x 26. Wallis (c) 1904. 
 
 Playfair, Professor John, Professor of Natiu-al Philosopliy in the University of Edinburgh; died 1819; 
 
 holding his spectacles in his right hand, seated at a table on which are a globe and boolts ; 50 x 40. 
 
 Agnew (e) 1890. 
 Playfair, John, F.R.S. 49J X 39J. National Portrait Gallery. 
 Playfair, John. 
 
 Polkemmet, Lord. (See William Baillie). 
 
 Portland, Duke of. 44 x 33. D. H. King's sale, New Yorli, March 31, 1904, £500, Dehne. 
 Portrait of an Artist at his Easel. 89 c x 68 c. Gallerie Charles Brunner, Paris, 1908. 
 Portrait of a Boy. W. A. Coats, Esq. 
 
 Portrait of a Child in White. 3U x 25. Sir VV. Cnnliffe Brooks. Morton, 1902. 
 Portrait of a Child. Vokins, 1888. 
 Portrait of a Lady and Children. The Children by Raeburn. The lady (Mrs. Raeburn, Sir Henry's 
 
 daughter-in-law) painted by Sir J. Watson Gordon. 
 Portrait of a Divine. Forbes (S: Paterson's Exhibition, 1901. 
 Portrait of a Gentleman. An engraving of this work is to be found in the Anderton Collection of Royal 
 
 Academy Catalogues in the Print Room of the British Museum. 
 Portrait of a Gentleman. Duke of Fife. 
 Portrait of a Gentleman. (Doubtful). Christie's, 1910. 
 Portrait of a Gentleman. Half length figure; white powdered hair, white cravat, and brown coat; 24 X 19. 
 
 Ewing Collection, Glasgow Corporation Galleries. 
 Portrait of a Gentleman. The Sir George Drummond Collection, Montreal. 
 Portrait of a Gentleman (?) 35J X 28^^. Christie's, 1910. 
 
 Portraits of Gentlemen (unnamed). Nos. 121, 123, 124, in the exhibition of the artist's works, Edinburgh, 1876. 
 Portrait of a Gentleman. 0.91m x 0.?lm. Half length ; right arm resting on back of chair ; left hand 
 
 partly seen. Lent by the Royal Gallery of Stuttgart, to Exhibition of British Art, Berlin, 1908. 
 Portrait of a Gentleman. Christie's, 1902. Colnaghi & Co. E. H. Hodgkins, Esq. 
 Portrait of a Gentleman. 35 x 27^. Turned to left looking at spectator ; green coat, white stock, seated ; 
 
 resting right arm on the back of his chair. Half length, life-size. Ex artist's sale, 1877. Sedelmeyer, 
 
 1902. 
 Portrait of a Gentleman ; 21x17. D. H. King sale. New York, March 31, 1904. Pulitzer. 
 Portrait of a Gentleman (miniature). J. L. Caw, Esq. 
 Portrait of a Gentleman. (R. and F.) Colnaghi & Co. Wallis & Son. 
 Portrait of a Gentleman ; 0'73 x 61. Bust, full face, blue eyes, fair hair, dark grey coat, gold buttons, and 
 
 white waistcoat. Brussels National Gallery. 
 Portrait of a Gentleman, The Sir George A. Drummond Collection, Montreal. 
 Portrait of a Gentleman ; 28 X 36. Wallis & Son. 
 
 Portrait of a Gentleman, in dark dress. Christie's, 1901. Colnaghi & Co. Dr. Magin. 
 Portrait of a Gentleman, in dark coat ; 30 X 25. A. Wertheiraer, Esq., 1902. 
 Portraits of a Gentleman, and Son, in a landscape. Webb, 1907. 
 
 Portrait of a Gentleman, wearing spectacles ; 29 X 24. Gregory. (R. and F.), 1897. 
 Portraits of a Gentleman and Lady. Colnaghi & Co. R. H. McCormick. 
 Portrait of a Girl ; 31J X 25, oval. Three-quarter figure, seated facing spectator ; white dress, white scarf 
 
 crossed over bosom ; long brown mittens ; dark background. Hamilton McCormick, Esq. R.A., 1906. 
 Portrait of a Little Girl. Glasgow International Exhibition, 1901. James Coats, Esq. 
 Portrait of a Girl Sketching; 30x24. Glasgow International Exhibition, 1901. Mrs. George Holt, 
 
 Birmingham, 1903. 
 Portrait ota Young Girl, sitting, leaning on a portfolio. Raeburn Exhibition, 1876. James T. Gibson-Craig, Esq. 
 Portrait of a Young Girl in White ; 27 x 20^. 
 Portrait of a Young Girl, seated. Agnew, 1887. 
 
 Portrait of a Lady, full length. I^aeburn Exhibition, 1876 (182). Raeburn Family. 
 Portrait of a Lady, bare to shoulders ; face turned to spectator ; long curly hair. Exhibited in New Gimpel, 
 
 and Waldstein Galleries, New York, 1909; and reproduced in "Fifty Portraits of Raeburn," and 
 
 American Art News, 1909. This portrait is very doubtful. Etched by George Aikman, A.R.S.A. 
 Portrait of a Lady (doubtful). Christie's, 1910. 
 Portrait of a Lady. 93J x 59. National Gallery. 
 Portrait of a Lady. Eai I of Mansfield. 
 
 Portraits of a Lady and Gentle/i-an. 49x38. Agnew, 1889. 
 Portrait of a Lady in green. 30 X 25. Wallis, 1902. 
 Portrait of a Lady in grey. 29x24. Wigzell, 19C1. 
 Portrait of a Lady in grey. 30 X 25. E. M. Denny. Robson (c) 1906. 
 Portrait of an Old Lady. Graves, 1887. 
 
 Portrait of an Old Lady with large cap. Raeburn Exhibition, 1876. Sir James T. Gibson-Craig, 
 Portrait of a Lady in white. 35J X 28. Martin (e) 1905. 
 Portrait of a Lady in white and yellow. S3J x 26. Colnaghi & Co., 1902. 
 Portrait of a Young Lady in white. 29x24. F. Mackenzie, Esq. C. Davis, Esq., 1902. 
 Portrait of a Young Lady. Half length to waist; white dress; face to right ; curling hair set with jewels. 
 
 Reproduced in " Fifty Portraits of Raeburn," 1909. 
 Portrait of an Officer. 93 x 57. E. Tayler, Esq. (F) 1905. 
 
 Portrait of an Officer with a Dog. Exhibition of artist's works, Edinburgh, 1876. Raeburn. 
 Portrait of an Officer in Uniform. 35^ x 27. Huggins (e) 1905. 
 Preston, Mary, daughter of Sir George Preston ; married, in 1774, to Robert Wellwood, of Garvoch. Her 
 
 daughter, Elizabeth, married the Hon. Allan Maconoehie. Painted at age of 92, In 1808, Raeburn 
 
 Exhibition, 1876. Allan A. Maconoehie Wellwood, Esq.,of Meadowbank. 
 
 56 
 
LIST OF PICTURES— continued. 
 
 Preston, Sir Robert. J. A. Maconochie Wellwood, Esq. 
 
 Prrngle, Anne, of Crichton. Professor A. S. Pringle Pattison. 
 
 Pringle, Miss Violet, daughter of Lord Haining. Professor A, S. Pringle Pattison. 
 
 Pulteney, Bart., Sir William. Lord Grantley. 
 
 Rae, Sir David, Bart. (See Lord Eskgrove). 
 
 Raehurn, Portrait of Sir H., in darli coat witli roll collar, yellow vest and white stock ; his left hand raised 
 to his chin, and the elbow supported by his right hand. Red curtain background ; 35 X 27. International 
 Exhibition, 1862, National Portrait Exhibition, 1868; Raehurn Exhibition, Edinburgh, 1876; Burlington 
 House, 1877; Scottish National Portraits Exhibition, 1834; From the sale of the artist's works, 1877; 
 From the collection of Sir William Patrick Andrew, 1887. Purchased at Christie's, from the collection 
 of Lord Tweedmouth, for S:ottish National Gallery. Painted about 1815. Engraved in stipple, by W. 
 Walker. Etched by W. Nicholson, 1818. This work was offered by the artist as his Diploma work on 
 his election as R..-^., in 1S15, it was declined on the ground that niembefs' own portraits were inadmissible, 
 and he subsequently (in 1821) presented the " Boy and Rabbit," now in the Diploma Gallery, Burlington 
 House. Purchased for the National Gallery of Scotland from the Tweedmouth collection for 4,500 
 guineas. 
 
 Raeburn, Portrait of. Agncvi-, 1887. 
 
 Raeburn, Portrait of ; 27 x 23. Tooth, 1899. 
 
 Raeburn, Portrait of; 35 x 27. Agncw, for Scott M. Gatty, Esq., 1905. 
 
 Raeburn, Sir Henry, R.A. By Sir Francis Chantrey, R.A. Head and shoulders, in profile, to left ; rounded 
 head, bald and fringed with thin hair; shaven face, with long upper lip and slight double chin. Inscribed 
 Portrait of H. Raeburn, R.A. Drawn by F. Chantrey, R.A. , in Princes Street, Edinburgh, 1818 (Pencil ; 
 paper; 10.^ x 6f). On the other side of the paper are three slight sketches of Chantrey by Raeburn, done 
 at the same time. Formerly in the possession of Wilkie Collins, the novelist. Reproduced in 
 lithography, in R. A. M. Stevenson, Sir Walter Armstrong, and J. L. Caw's "Sir Henry Raeburn." 
 Presented by C. Fairfax Murray, Esq., 1901. 
 
 Raeburn, Sir Henry. Bust by Thomas Campbell. Head slightly raised and turned to left; bald and 
 prominent forehead, shaven face, with small whiskers at ears ; eyeballs marked, firmly compressed 
 mouth and thin lips ; drapery, edged with fringe, thrown over shoulders. Inscribed on hack, in incised 
 letters. Marble Bust, circular base, height 26 ins. Thomas Campbell, Roma, 1822. 
 
 Raeburn. Medallion by Jame'-Tassie (?). \Vc have it on the authority of Miss C. Raeburn that her father 
 Henry Raeburn, son of the painter, was accustomed to state that this medallion was modelled by his 
 father himself. Probably the exact facts may be that it was executed in the modelling room of Tassie 
 and at least substantially retouched by Sir Henry. Its style shows affinity to Raeburn's handling in 
 painting and it is not signed or initialed by Tassie, as is most commonly the case in his portrait medallion. 
 Small Bust, in profile, to right ; firm mouth, resolute face, hair tied behind, frill at breast. Inscribed on 
 truncation, in incised letters. H, Raeburn, 1792. White enamel paste, oval; 31- X 2i. Miss Raeburn. On 
 loan to S.N. P.G. 
 
 Raeburn, Lady, wife of the artist (ni-e Ann Edgar), daughter of Peter Edgar, of Bridgelands. In white and 
 brown dress and white head-dress, seated in a landscape with her arms folded on her lap ; 58 x 44. 
 Raeburn Exhibition, Edinburgh, 1876; Burlington House, 1877; Scottish National Portrait Exhibition, 
 1884 ; Burlington House, 1888. From the sale of the artist's works, 1887 ; From the collection of John 
 Heugh, Esq., 1878; From the collection of Sir William Patrick Andrew, 1887; From the collection of 
 Lord Tweedmouth. Now the property of Sir Ernest Cassel. 
 
 Raeburn, Henry, with grey horse. The horse painted by Raeburn, the boy by John Syme, Raeburn's pupil 
 and imitator. 
 
 Raeburn, Henry (1784-1863) second son of the artist, mounted on a grey pony. Painted about 1796. Scottish 
 National Exhibition, 1908. The Earl of Rosebery. Wallis & Son, 1910. Insurance Co. 
 
 Raeburn, Henry. Study for above portrait. 16x12. S.N. P.G. 
 
 Raeburn, Eliza, daughter of the artist's son, Henry Raeburn. She died at the age of six years. 
 
 Raeburn, Mrs., and her children. Mrs. Raeburn by Sir J. Watson Gordon, P.R.S.A. ; the two children by 
 Raeburn. The mother is seated, holding youngest child on her knees, the other girl is standing by her 
 side in front, her face turned towards the spectator. Landscape, column, and curtain background, 
 48 X 38i. Sedelraeyer, 1895. 
 
 Raeburn, Peter. 19 x 23. V. G. Fischer, Esq., of Washington. 
 
 Ramsay, The daughters of Allen, afterwards Mrs. Malcolm and Lady Campbell. A little girl in white dress 
 with pink sash and cap, embracing her baby sister. 17 X 14. 
 
 Ramsay, Colonel and Mrs. Signed R. 1790. The figures are seated in a landscape; on the left, the lady, 
 placed to the ri<^ht, looking at the spectator; she wears a white dress and white head-dress, and holds a 
 glove in her hand ; behind iier, on the right, stands the Colonel, in red coat, looking to the right, his arm 
 resting on the back of the seat. Three-quarter length, life-size ; 48 x 38i ; signed R. 1790. R.A. 1895. 
 Paris Exhibition, 1900. Ex Sir William Agnew Collection. Sedelmeyer, 1906. 
 
 Ramsay, Lady. 29J x 24^. Sedelmeyer, 1905. 
 
 Rarasay, Robert, of Camno. Sir Arthur G. R. Mackenzie, Bart. 
 
 Ramsay, William. 50 X 40. Wallis, 1903. 
 
 Ramsey, Peter, of Charlotte Square, Edinburgh, and Gogan House, Banke ; 40 x 50. D. Heinemann, Esq , 
 of Munich. 
 
 Rannie, James, wine merchant, Leith. Raeburn Exhibition, 1876. Lord Torpichen. Mr. Swinton. 
 
 Rannie, Miss Margaret. (See Mrs. M. Elliot, of Woltelce). 
 
 Reid, Robertson, Mrs. F., of Gallowflat ; 30 x 25. A. Wertheimer, Esq., 1899. 
 
 Reid, Dr. Thomas, Professor of Moral Philosophy, Aberdeen ; 29J x 25J. National Portrait Gallery of 
 Scotland. Other versions of this portrait are in the Hunterian Museum, and at Fyvie Castle, 
 Aberdeenshire. 
 
 57 
 
LIST OF PICTVRBS— continued. 
 
 Reid, Dr. Thomas (17I0-9S). Lent to Glasgow International Exhibition, 1901, by Mark Bannatyne, Esq. 
 Reid, Rev. Thomas, D.D. (1710-1796). Professor of Moral Philosophy, Aberdeen ; succeeded Adam Smith as 
 
 Professor of Logic, Glasgow, 1764 ; wrote " Enquiry into the Human Mind," and other works. Raeburn 
 
 Exhibition, 1S76. Mrs. Gregory, Canaan Lodge. 
 Rennie, John, F.R.S., Civil Engineer, who built Waterloo Bridge, London Docks, and East and West India 
 
 Docks, at Blackwall ; he also designed the breakwater at Plymouth, and London Bridge, which were 
 
 afterwards constructed by his son, Sir John Rennie. In daik blue coat with brass buttons, white stock; 
 
 30 X 25. National Portrait Exhibition, 1S6S. Formerly the property of Sir George Rennie, grandson of 
 
 John Rennie, the engineer. Christie's, 1905. Now in the collection of G. B. Rennie, Esq. 
 Ronnie, John. Raeburn Exhibition, 1876. 
 Richardson, .Mrs. (Elizabeth Ann Stewart), of Urrard, Perth, wife of James Richardson, of Pitfour; their son 
 
 John became thirteenth Baronet. 
 Riddell, Thomas MiUes, In scarlet coat, with buff breeches and top boots, holding his hat and rifle in his 
 
 right hand, and resting his left hand on his hip ; standing in a landscape, under a tree, turned slightly to 
 
 the left. 94 x 5S. Sir RoJney Stuart Riddell, Bart. A. Wertheiraer, Esq. (c), 1911. 
 Ritchie, Miss. A miniature. 
 Robertson, Andrew (c), 1901. 
 Robertson of Edinburgh. Almost full face ; white collar and scarf. Mr. Andrew Reid, Glasgow. Illustrated 
 
 in " Portraits by Raeburn." Edited by J. L. Caw. 
 Robertson, Mrs. George. 
 Robertson, Mrs., of Alt-na-Skiach (nee Inglis). In red dress with white lace collar and mob cap; 30 x 25. 
 
 Christie's, 1906. Colnnghi & Co. Colonel Brown. 
 Robertson, Patrick of Gallowflat. 
 Robertson, Mrs., of Gallowflat. 
 Robertson, William (1721-1793). Principal of Edinburgh University; wrote a " History of Scotland,'' 17.59. 
 
 " History of America," etc. Famed for his eloquence. Raeburn E\hibition, 1876. University of Edinburgh. 
 Robinson, Jane, wife of James Law, of Elvington. French Gallery, Edinburgh, 1909. 
 Robinson, Master; 30 x 24J. Standing in a landscape, turned to the right, holding a hoop and a short stick 
 
 in his right hand ; half"'length figure, life-size. Ex. the .Morgan family. Lord Tredegar's family name. 
 
 Sedelmeyer, 1897. 
 Robison, John (1739-1808), Professor of Moral Philosophy, Edinburgh. Secretary Royal Society, Edinburgh. 
 
 Striped red dressing gown, and white cap ; 50 x 40. Engraved by C. Turner. Raeburn Exhibition, 1876. 
 
 Royal Society, Edinburgh. 
 Robison, John, Professor. Edinburgh University. 
 RoUand, Adam, of Gask ; advocate, supposed to have suggested " Pleydell " in Sir Walter Scott's 
 
 "Antiquary. ' Raeburn Exhibition, 1S76. .Miss Abererombie. Two other versions were lent to the 
 
 same exhibition by Adam RoUand, of G.isk. Scottish National Exhibition, 1908. Miss Bruce and the 
 
 Trustees of the late Miss Agnes Abcrcroinbic. 
 RoUand, Adam, of Gask. Advocate. Born 1734; died 1319. Full length; in black coat, waistcoat, knee 
 
 breeches and stockings; he sits facing the spectator, leaning his elbow (the fingers are raised to the 
 
 cheek) on the writing table to the right ; his right hand hangs over the arm of the blue-covered chair; 
 
 a blue curtain forms the background except to riglit and left, where patches of yellow sky are introduced ; 
 
 78 X 60. Three versions of this picture exist. Deposited by the Society in Scotland for the Propagation 
 
 of Christian Knowledge. Scottish National Gallery. 
 Rolland, James. Raeburn Exhibition, 1876. Adam RnUand, Esq., of Gask. 
 Rosebery, Neil, third Earl of Rosebery, K.T. (1728-1814); succeeded his father in 1756; married, first, 1764, 
 
 Susan, sister and heiress of Sir Randall Ward, Bart.; and second, 1775, Mary, daughter of Sir Francis 
 
 Vincent, Bart., by whom he had, with other children, Archibald, his successor. Raeburn Exhibition, 
 
 1876. The Earl of Rosebery. 
 Ross, Grace Lockhart, of Balnagown, daughter of Sir James Lockhart Ross, and grand-daughter of the twelfth 
 
 and last Lord Ross; married, in 1794, Lewis Mackenzie, Esq., in which year the portrait was painted; 
 
 95 X 59. Agnew, 1904. 
 Ross, Miss Isabella (1756-1823), wife of George Bell, .M.D, Nearly whole length figure, seated in a 
 
 landscape, under a tree, looking to right; in white dress cut low, with slate-coloured overdress 
 
 trimmed with black lace ; brown hair falling in ringlets over forehead ; trees in the distance ; 50 x 40. 
 
 Painted in 1801-2. Engraved by J, B. Pratt. Exhibited Messrs. Agnew's Annual Exhibition, November- 
 December, 1906. Walli3 & Son, 1910. J. Pierpont .Morgan, Esq, 
 Ross, Mrs. Jean, wife of John Cockburn Ross, and hcirc.;s of \\'iijiam Ross, of ShLMi.iwick; 59 • 40. 
 
 Agnew, 1902. J. B. Joel, Esq. 
 Ross, John Cockburn, of Rochester and Shandwick ; died 1827 ; 40 x 50. J. Crathern, Esq., of Montreal, 
 Ross, Miss. Three-quarter length, standing in a lanilscape ; left arm resting on a wall ; right hanging at her 
 
 side. Lord Gleneomer. 
 Ross, Walter, as a boy. Son of John Ross, W.S. Painted about 1822. F?aeburn Exhibition, 1876, John 
 
 Cook, Esq., W.S. Henry Cook, Esq. 
 Ross, Miss Wilhclmina, of Shandwick; died in 1849. Agnew, 1901. 
 
 Ross, Wm., of Shandwick, killed in a duel by Lieut. David Reed, on Hounslow Heath, 1791 ; 41 \ 50. W. Ross, Esq. 
 Rosslyn, Ear! of. Alexander Wedderburn, Lord Chancellor, 173.3-1805. 
 
 Russell (Bedford) Family. A Boy. In red coat, white vest, lace collar; II x 10. Heym.in. 
 Russell, Mrs. Mary, dau!,;hter of Sir Alexander Bannerman, fourth baronet, of Elsick, Kincardine. Raeburn 
 
 Exhibition, 1876. Charles M. Barstowe, Esq. 
 Russell, Miss. (See Mrs. Andrew Wood). 
 Russell, Lord W. Grandson of John, fourth Duke of Bedford; born 1767; married 1789, Charlotte Anne, 
 
 daughter of George, fourth Earl of Jersey ; was murdered by his valet in May. 1840 ; 50 x 40. Raeburn 
 
 Exhibition, 1876. W. P. Adam, Esq., M.P. ,Mr, Glaisher, 1896. 
 Rutherford, Professor, 
 
 58 
 
LIST OF PICTURES— coH/iHHci/. 
 
 Sailor, A Disabled. Louvre. 
 
 Sands, Major W. J., H.E.l.C.S. Raebuin Exhibition, 1876. Hiss Sands. 
 
 Scott, Colonel Francis, of Horsely Hill, in red uniform with epaulettes, his left hand on his hip, his right hand 
 restmg on his sword ; a landscape background; 50x40. Agnew (c) 1899, R.A., 1906. Franco-British 
 Exhibition, 1908. M. Trevalyn Martin, Esq. 
 
 Suott, Mrs. Hugh. Colnaghi & Co. Knocdler & Co. 
 
 Scott, Mrs. 2Si x 23^. Half-length, life-size. Ex Scott collection. Sedelmeycr, 1900. 
 
 Scott, Sir Walter. As a Boy in Highland Costume ; 30 x 28. Biddulph, 1897. 
 
 Scott, Sir Walter. When a Young Man, in brown coat, with pink vest and white stock ; 29 x 24. Formerly 
 in the possession of Campbell, the poet. From the collection of William Russell, Esq., 1884. 
 Gooden & Fox, 1905. Now in America. 
 
 Scott, Sir Walter, Bart, of Abbotsford, born in Edinburgh, 1771, son of a writer to the Signet; educated 
 at High School and University of Edinburgh ; called to the Scottish Bar, 1792 ; Sherifl' depute of Selkirk- 
 shire, 1799 ; published ll'avcr/f^i in 1814 ; created baronet in 1820; died Abbotsford, 1832, Full length, 
 painted 1808; 72 X 58. Engraved by C. Turner and E. Pickett. Raeburn Exhibition, 1876, Duke of 
 Buccleugh and Queensberry, K.T. The Gentleman's Magazine for Dec. 1809, says that " Mr. Crcmck 
 will shortly publish a whole length portrait of Sir Walter Scott, from the admired picture painted by 
 Raeburn, for Constable, of Edinburgh ; which appeared in the last Exhibition of Scottish Paintings. The 
 print will be 20 X 14." This no doubt refers to the Mezzotint by C. Turner, 1810. 
 
 Scott, Sir Walter, Bart. Replica of full length, 71 x 58. Collection of Baroness Burdett-Coutts. 
 
 Scott, Sir Walter, Bart. Mrs. Bishop, of Richmond. Judging from the print after this portrait which 
 appeared in thz Morning Leader, in 1907 ; this version cannot be accepted as genuine. 
 
 Scott, Sir Walter. 1809, Hon. Mrs. Maxtone Scott, of Abbotsford. 
 
 Scott, Sir Walter. 1822-23. Engraved by W. Walker. Earl of Home. 
 
 Scott, Sir Walter, Bart. Bust size, 29^ x 24J. Raeburn Exhibition, 1876, Raeburn Family. Arthur 
 Sanderson, Esq. Colnaghi and Co., 1911. This portrait is doubtful. 
 
 Seafield, Lord. 
 
 Seaforth, Lord. 29^ x 24. Vokins (e) 1910. 
 
 Selkrig, Alex., Accountant, born 1764, died 1845. 25 X 30. D. Morrice, Esq., of Montreal. 
 
 Selkrig, Charles, Raeburn Exhibition, 1876. James Hay, Esq. 
 
 Seton, Lady. Miss Innes, daughter of Mr. Innes of Cathlaw. Lady Seton's husband's title was a Swedish 
 one, and they both lived at Preston, near Linlithgow; 23x28. Col. Walter Brown, of Renfrew. 
 Wallis & Son, 1910. Col. Walter Brown. 
 
 Shaw, Alex. 29 x 24. W. L. Graham, 1905. 
 
 Shiriff, Lieut, -Colonel, H.E.l.C.S,, of the Madras Army. Painted about 1800. Full length in uniform 
 Raeburn Exhibition, 1876. James D. Gillespie, Esq., M.D. Wallis & Son, 1910. Mrs. Gillespie. 
 
 Shuttleworth, Mrs. Lady Marjoribanks, Lees. 
 
 Siddons, Mrs. (R. & P.), 1905, 
 
 Siddons, Mrs. (probably). Bust side view, face turned to spectator; white cap, and ruff, dark jacket. 
 Shepherd, 1910, 
 
 Simpson, Mrs. Three-quarter length ; seated in a landscape ; 48J x SSJ. William McEwan, Esq, 
 
 Sinclair, Sir George, Bart., of Ulbster, as a boy. Born 1790; married 1816. Lady Catherine Tollemache, 
 daughter of Louisa, Countess of Dysart, and sister of the Earl of Dysart ; died 1868 ; 57 x 42J, Painted 
 about 1794. Full length, fair haired, seated in a landscape on a rook, looking at spectator; red jacket 
 and frilled collar; left hand rests on rock, his right holds his cap. Landscape background. Viscount 
 Iveagh. R.A,, 1907. 
 
 Sinclair, Sir John, Bart, of Ulbster. Political economist and philanthropist, born at Thurso, 1754 ; educated 
 at Edinburgh; first President of Board of Agriculture; wrote among other important works, "A 
 Statistical Account of Scotland;" raised two battalions, each of 1,000, in readiness for the expected 
 French invasion ; died at Edinburgh, and was buried at Holyrood Abbey, Seated, face three-quarters to 
 left; 48i x 38a. s. N. G. 
 
 Sinclair, Sir John, of Ulbster (1754-1835), as Colonel of the Caithness and Rothesay Feneibles, In the 
 Uniform of a Field Officer of Highland Militia, over the scarlet coatee and trews of Sinclair Tartan, he 
 wears two sashes, a buff and a red, a large plaid, a sporran, and a heavy cavalry sabre; standing in a 
 landscape, his left hand resting on his hip; 94 x 60. Painted about 1790. Glasgow Exhibition, 1901. 
 Christie's, 1909. Lent to R.A. 1910, by the Trustees of Archibala H. M. Sinclair, Esq. On loan to 
 Scottish National Portrait Gallery. 
 
 Sinclair, the Rt. Hon. Sir John, Bart. 60 X 93J. The Archdeacon of London, 
 
 Sinclair, Sir John, Bart. National Portrait Gallery. 
 
 Sinclair, Sir John, Bart, of Ulbster. Bust, dark coat, grey hair, paper in left hand ; 30 x 25. Wallis & Son, 
 1910. Archdeacon Sinclair. 
 
 Sinclair, William, fifth son of Sir John Sinclair, Bart; 49 X 39. Painted in 1808, at the age of four years. 
 R.A. , 1910. Wallis & Son, 1910. Archdeacon of London. 
 
 Skene, James, of Rubislaw ; advocate, 1797 ; born, 1774 ; died, 1864. Raeburn Exhibition, 1876. Miss Skene. 
 
 Skene, Mrs., wife of James Skene, and daughter of Sir William Forbes, Bart., of Pitsligo. Raeburn 
 Exhibition, 1876. Miss Skene. 
 
 Skirving, Archibald, son of Adam Skirving, author of "Johnnie Cope," &c. (1749-1819) ; studied art in Rome, 
 and settled in Edinburgh as a portraitist in crayons. His likeness of Burns, the poet, is well-known. 
 Raeburn Exhibition, 1876. Raeburn Family. 
 
 Smith, Archibald, of Jordanhill. T. D, Smith, Esq. 
 
 Smith, Archibald. Replica. 
 
 Smith, Mrs. Alexander, Raeburn Exhibition, 1876. David Smith, Esq. Hallam Murray, Esq. 
 
 Smith, Donald, banker, Edinburgh. Raeburn Exhibition, 1876. David Smith, Esq. 
 
 Smith, George, Master of Trinity House, Painted about 1807. Raeburn Exhibition, 1876. Incorporation 
 Trinity House, Leith. 
 
 59 
 
LIST OF PICTURES— coHtinucii . 
 
 Smith, James, of Jnrdanhiil. Painted 1823. International Exhibition, Glasgow, 1901. Mrs. Archibald Smith, 
 Smith, iVlrs. (nie Wilson), wife of above. Painted 1823, and engraved by J. W. Chapman in 1890. Mrs. Archibald. 
 Smith, John, of Craigend. Painted in 1790. 30x25. J. S. Rankin, Esq. S.N.G. 
 Somerset, Miss. 25 x 30. Sedelmeyer. Exhibited Berlin, 1903. D. Morrice, Esq., of Montreal. 
 SomerviUc, Mrs., of Airhouse, Berwickshire. (See Farmer's wife). 
 Speirs, Archibald, of Elderslie. Mr. Speirs. 
 
 Spiers, Mrs. Archibald (Margaret Dundas). Marquis of Zetland. 
 
 Spens, Dr. Nathaniel (1728-1815). Son of Thomas Spens, of Lathallan ; President of Royal College of 
 Pliysicians, Edinburgh, 1794-1796; President Royal Company of Archers, 1809; Adjutant-General, 1810. 
 Married Mary, second daughter of James Millikin, of that ilk. !n uniform, full length ; standing in a 
 landscape; shooting with bow and arrow. Painted for the Archer's Hall, Edinburgh, and engraved by 
 Bengo, 1796. Raeburn Exhibition, 1876. Royal Company of Archers, Edinburgh. 
 Spenser,' Edmund. (Copy). Earl Spencer. Painted in 1820 from the original portrait in the possession of 
 
 the Earl ot Kinnoul. 
 Stanhope, Lady. Colnaghi & Co. (c) 1896. Madame Andre, Paris. 
 Steuart, D.wid. (Sec Earl of Buchan). 
 
 Steuart, Sir Henry, Bart., lent to Scottish Exhibition, Glasgow, by Sir Alan L. Seton-Steuart, Bart. 
 Steuart, of Coltness and Westshields, Sir James ; 49 x 38*. National Gallery of Ireland. 
 
 Steuart. Lady Scton. Three-quarter length; brown eyes; dark hair in ringlets on either side of head; 
 close fitting white robe ; full crimson cloak with gold-toned lininj; ; the leit hand hangs by her side and 
 holds a soft turban-like hat, the same colour as the cloak ; the right hand grasping the cloak is extended 
 and rests on a garden balustrade; 48x36. Stirling Exhibition, 1910. Sir Alan H. Seton Steuart, 
 Bart., of Touch. 
 Stewart, Lieut. -Col. Alexander, 4th Battalion Royal Scots ; Equerry to H.R.H. the Duke of Kent; 24 x 29. 
 
 Andrew T. Reid, Esq., of Glasgow. 
 Stewart, Lady Alicia, of Coltness, daughter of William Blackee, of Carriek-Blackec, CO. Armagh ; born, 1744 ; 
 married, in 1772, General Sir James Denham-Stewart, of Coltness and Westhills ; 50 X 40. Agnew, 1901. 
 Lent to Franco-British Exhibition by Mrs. F. C. K. Fleishraann. Cent. Portraits des Fcmmes, Paris, 
 1909, and to Wallis & Son, 1910. 
 Stewart, Admiral Sir C. Houston Stcw.-at, as a miJshipman. Sir H. Siiaw Stewart. Illustrated in 
 
 " Portraits by Raeburn." 
 Stewart, Daniel, founder of Daniel Stewart's Hospital (1741-1814). Raeburn Exhibition, 18/6. Merchants' 
 
 Company ol:' Edinburgh. 
 Stewart, Professor Dugald ; 46 x 37. Engraved by C. Turner and Lizars. Ex E. G. Fraser Tytlcr. 
 
 Ehrich sale, New York, March 21, 1906, .£290. Thomas. 
 Stewart, George and Maria, children of Professor Dugald Stewart. The boy, in green coat, yellow vest with 
 white frilled collar, with his hands holding back a dog ; his young sister, in v.'hite dress with low neck and 
 short sleeves, by his side, holding a rabbit in her arms. Three-quarter length ; 50 x 40. Colnaghi and 
 Co. (c), 1901. Exhibition of British Art, Berlin, 1908. 
 Stewart, G. H., of Physgill, with horse, R. J. Stewart, Esq., of Glasserton. 
 Stewart, Mrs., of Physgill. Full length in landscape. Painted about 1823. Engraved in »</io, 1908 
 
 R. J. Stewart, Esq., of Glasserton. Messrs. Duveen. Sir George Cooper, Brnt. 
 Stewart, John, of Garth. Sir Donald Currie, K.C.M.G. 
 
 Stewart, Sir Michx-1 Shaw. Engraved by S. Cousins. Sir Hugh Shaw Stewart, Bart. 
 Stewart, Miss of Ballechin (Dowell, Edinburgh) ; 38J x 47. J. "Burnet Stewart, 1904. 
 Stewart, Mrs., of Kirkchrist. Lawson Peacock, Esq. 
 Stewart, Mrs., wife of Char les Stewart, Esq., of Dalguise ; 50x40. Agnew, 1904. Cent Portraits des 
 
 Femmes, Paris, 1909. Sir Edward Stern. 
 Stevenson, Lieut. -General, Sir James, K.C.B., of Barns ; died, 1850. Raeburn Exhibition, 1876. James 
 
 Hope, Esq., of Belmont. 
 Stirling, Miss Christian, wife ot George Dundas, of Dundas, and second daughter of Sir William Stirling. 
 
 Archibald Stirling, Esq. 
 Stirling, Helen, only child of Robei t Stir'ing (1S08-IS22). Seated in a land^^capc. Painted, 1811. Raeburn 
 Exhibition, 1876. Sir William Stirling-Maxwell, Bart. Reproduced in " Fifty Portraits of R.ieburn." 1909. 
 Stirlin", John, of Kippendavie, and Jane, his youngest daughter. He was an olU branch of the baronial 
 family of De Striveling or Stirling, of Keir ; his second daughter, Margaret, was married to James, tenth 
 Lord To'pichen. Painted about 1814. Raeburn Exhibition, 1876. John Stirling Esq., of Kippendavie. 
 Stirling, Robert. Archibald Stirling, Esq. 
 Stirling, William, of Cordale. Archibald Stirling, Esq. 
 Stodart Robert, of Kaikie, Peebles-shire, and of Ormiston Hill, Edinburgh. Raeburn Exhibition, 1876. 
 
 Robert S. Wyld, Esq., LL.D. 
 Stothert, William, of Cargen. Painted about 1817. Raeburn Exhibition, 1876. Rev. W. Burton Alexander. 
 Story, M'iss; 30 x' 24i. Green, 1897. 
 
 Strahan, Rcnny, Mrs! : 30 X 25. Colnaghi & Co. (c), 1899. A. Tooth. 
 
 Stuart, Charles, Esq., of Edinburgh. In black coat with white stock; 30 \ 25. Sedelmeyer (e), 1901. 
 Stuart, Sir James. Engraved by Buxton. 
 Stuart Sir John, of Fcttercairn, M.P. for Kincardineshire, 1797. Baron of Exchequer; died 1821. Painted 
 
 about 1805. Raeburn Exhibition, 1876 Lord Clinton. Hon. C. F. Trefusis. 
 Suttie George H.E.I.C.S., son of Sir George Suttie, third baronet of Balgone, Haddingtonshire. Painted 
 about 1795. Raeburn Exhibition, 1876. Sir George Grant Suttie, Bart., of Preston Grange 
 and Balgone. 
 Suttie, Janet, daughter of Sir James Suttie. Bust in oval, turned to right; face three quarters looking to 
 left. Painted' about 1818. Raeburn Exhibition, 1876. Sir George Grant Suttie, Bart. Scottish 
 National Exhibition, 1908. 
 
 6o 
 
LIST OF PICTURES— contiuued. 
 
 Suttie, Lady, wife of Sir James Suttie, fourth baronet, of Balgonc, wlio in 1818, succeeded his aunt Janet Grant, 
 Countess of Hyndford, as heir of line in the estiites of Preston Grunge, and assumed in consequence the 
 surname and arms of Grant. Painted about 1795. Racburn Exhibition, 1876. Sir George Grant Suttie. 
 
 Suttie, Miss Margaret. Painted about 1818. Engraved in mezzotint, by R. C. Clouston, 1893. Glasgow 
 International Exhibition, 1901 ; Scottish National Exhibition, 1908. Sir George Grant Suttie. 
 
 Swanston, William, of Leith-head. Three-quarter length, leaning on wall in landscape ; 50 x 40. 
 S. Mitchell, Esq. Illustrated in " Portraits by Raeburn." Edited by Mr. J. L. Caw, 1909. 
 
 Sym, Robert, W. S. Born in Glasgow, 1752, came to Edinburgh when young ; uncle of " Christopher North " 
 (Professor John Wilson); well-known in literary circles and was the "Timothy Tickler" of the Noctes 
 Ambrosiana: ; died 1844. Engraved by R. C. Bell. Raeburn Exhibition, 1876. Mrs. Margaret Anne 
 Ferrier. Miss J. Grant. 
 
 Symmington, Miss Janet. 50x40. Seated in landscape; in white dress; holds hat in left hand. 
 E. M. Hodgkins, Esq. 
 
 Tait, John W. S., of Harvieston, where he was visited by Robert Burns. He saw the battle of Falkirk. 
 
 Archbishop Tait was one of his grandsons. Mr. Tait died in 1800, aged seventy-three years. Raeburn 
 
 Exhibition, 1876. Mr. Tait. Mrs. Pitman. 
 Tait, John W. S., and grandchild John. Painted in 1793. The figure of the boy was introduced 
 
 after Mr. Tait's death. The latter is seated in rustic chair, in a landscape, face looking to spectator ; 
 
 right elbow rests on arm of chair ; he holds a watch in his right hand (his other hand is also a right 
 
 hand, see text). The child holds fob in left hand. Raeburn Exhibition. Mr. Tait. Mrs. Pitman. 
 Tattcrsall. The Family. Lister (R. and F.), 1902. 
 
 Taylor, Rev. William, D.D., Principal Glasgow University. Mrs. Monteith. 
 Telford, Thomas, eminent civil engineer, son of a shepherd in Eskdale, Dumfries-shire (1757-1831). At the 
 
 age of fourteen years he was apprenticed to a stone mason ; in 1780 went to Edinburgh, and studied 
 
 architecture and drawing ; removed to London, and was employed in the erection of Somerset House. 
 
 His first great work was the Ellesmere Canal ; it was followed by the Caledonian Canal, the Menai 
 
 Suspension Bridge ; and St. Katherine Docks, London. He was buried in Westminster Abbey. Painted 
 
 about 1812. Raeburn Exhibition, 1876. Mrs. Burge. 
 Thomson, Rev. Andrew, an eminent divine, orator, and controversalist ; died 1831. Engraved by W. Walker, 
 
 Raeburn Exhibition, 1876. The artist's Family. Wallis & Son. Colnaghi & Co. L. Nardus. There 
 
 was a portrait of Mr. Thomson in St. George's Parish Church, Edinburgh. 
 Thomson, Christina. (See Mrs. White). 
 
 Thomson, George. Engraved by Cochrane. R.S.A., 1863. (See Mrs. Thomson). 
 Thomson, Rev. John (1778-1840). Won fame as a landscape painter; appointed minister of Duddingston, 
 
 1805; was a scholar and excelled in music. Engraved by A. Hay. Raeburn Exhibition, 1876. Raeburn 
 
 FamUy. Archibald Stirling. 
 Thomson, John, Merchant, Edinburgh. In grey coat with roll collar; white vest and stock. Raeburn 
 
 Exhibition, 1876. Mrs. Bell. Gooden and Fox (e) 191 1. 
 Thomson, Robert. Col. Sir R. "VVhite-Thomson. 
 Thomson, Thomas (1768-1852), Advocate, Principal Clerk of Session, Edinburgh. President Bannatyne 
 
 Club. Edited several acts of Parliament. Raeburn Exhibition. 1876. Right Hon. T. F. Kennedy, of 
 
 Dunure. 
 Tod, Mrs. Eliza, daughter of Sir James Pringle, fourth baronet of Stichell, and wife of Archibald Tod, of 
 
 Drygrange. Half length; grey dress with white frilled collar, grey and white cap; 30x25. 
 
 Wallis & Son, 1910. 
 Tod, John, of Kirkhill, writer to the Signet. Raeburn Exhibition, 1876. Alexander Tod, Esq. 
 Torpicheni James, ninth Lord (1759-1815). Lieut. -Colonel ; a representative peer; married Anne, daughter 
 
 of Sir John Inglis, Bart., and died without issue, when the barony descended to his first cousin James. 
 
 Lord Torpichen. 
 Torpichen, Lady, wife of Lord Torpichen. Raeburn Exhibition, 1876. Lord Torpichen. 
 Towers, Professor James. R. Towers, Esq. 
 Traill, Lady Janet. Daughter of William, tenth Earl of Caithness; married, 1784, James Traill, Esq., of 
 
 Hobbister and Rattar ; died in Edinburgh, and buried at Rosslyn Chapel, 1806. In pale yellow muslin 
 
 dress, cut low at the neck and turned back with white ; yellow sash ; her hair semi-powdered, and bound 
 
 with a pale blue ribbon ; seated, to the right, holding the folds of her dress with her left hand, and 
 
 resting her right hand on her lap ; landscape and foliage background. 49J x 39J. The portrait hung 
 
 for many years in a Scottish box. James Christie Traill, Esq. Duveen (c) 1911. 14,000 gs. 
 Traill, James, of Hobbister and Rattar. Born 1759; Advocate; Sheriff of the Counties of Caithness and 
 
 Orkney ; married Lady Janet Sinclair, daughter of William, tenth Earl of Caithness. In dark coat, 
 
 vest and breeches, with white stock and frill; powdered hair; seated, to the left, in a crimson chair, 
 
 holding some papers in his right hand, and resting his left upon the arm of his chair; a table behind, on 
 
 which are books and papers. 49J x 39i. James Christie Traill, Esq. Colnaghi & Obach (c) 1911. 
 Trotter, Archibald, of Bush, Midlothian. Raeburn Exhibition, 1876. Lieut. -Colonel Trotter. 
 Trotter', Mrs., of Bush. Exhibition of artist's works, Edinburgh, 1876. Lieut. -Colonel Trotter. 
 Turing' Lady (nie Miss Campbell, of Saddell). Sir Robert Turing. 
 Twysden, Lady (Mary, daughter of George Jervis). Nearly full face; white dress with frill; brown hair 
 
 dressed high and falling over each shoulder ; blue eyes. Miniature, 3J X 2J. J. P. Morgan, Esq. 
 
 (See Dr. Williamson's Catalogue of Miniatures, No. 307). 
 Tytler Alexander Eraser, Lord Woodhouselee, of Woodhouselee. Born, 1747 ; married, 1776 ; Senator of the 
 
 College of Justice, Edinburgh; father of the " Historian of Scotland"; Author of Universal History, 
 
 Ancient and Modern ; died 1812. In black and white stock, with grey hair ; full face, body to the left ; 
 
 30x25. Painted in 1804. Engraved by Picart. Exhibited in Edinburgh, about 1877. Christie's, 1897. 
 
 Colnaghi & Co. A. Tooth. Fischoff-Blakeson sale, New York, 1900. 
 
 6i 
 
LIST OF PICTURES— co»toi»frf. 
 
 Tytler, Mrs. Grant Fraser. E. Grant Fraser Tytler, Esq. 
 
 Tytler, Jane Fraser, daughter of Lord VVoodhouselee ; wife of James Baillie Fraser, of Reelig, eldest son of 
 Edward Eraser. In white dress, eut low ; dark red cloak, trimmed with fur over the shoulders ; full 
 face, body slightly to the left ; 30 x 25. A. Werthernier. Charles P. Taft, U.S.A. 
 
 Tytler, William \V. S. Engraved by J. Jones, 1790. E. Grant Fraser Tytler, Esq. 
 
 Urquhart, William, Merchant, Glasgow. Half length, life-size, looking towards spectator; 38 X 25. Painted 
 about 1815. Presented by his daughter-in-law, Caroline J. Urquhart, in 1900, to Glasgow Corporation 
 Galleries. 
 
 Urquhart, Mrs. William, wife of William Urquhart. Half length, life-size, looking to left ; 30 x 25. Painted 
 about 1815. Presented as above. 
 
 Veitch, Mrs., of Elisch. Three-quarter length. Miss Graham. 
 
 \'ere, Mrs. Jaeolina Leslie, stepdaughter of Sir Henry Raeburn, wife of Daniel Vere, of Stoneybynes, Sheriff 
 Substitute, of Lanarkshire, who was the last representative in the male line of an old English family 
 long resident in Lanarkshire. Seated in green garucn chair, t.et in landscape, white dress ; brown 
 cloak lined with yellow; left arm leaning on wall, right hanging at her side; 50 x 40. Raeburn 
 Exhibition, 1876. James T. Gibson-Craig, Esq. Agnew (c), 18S7. ' Mrs. Keiller. Wallis & Son, 1910. 
 W. A. Coats, Esq. Dr. John Brown describes a portrait of Mrs. \'ere, " lying asleep, her head on a 
 pillow — a tine study." 
 
 Vernon, Right Hon. Louisa Barbara. 
 
 Vismes, Miss de (Lady .Murray). Scottish International Exhibition, 1908. Earl of Mansfield. 
 
 Wallace, Hugh. Hugh R. Wallace, Esq. 
 
 Wallace, Mrs. Miniature. Hugh R. Wallace, Esq. 
 
 Walker, Mrs. F. Sir J. Drummond, Bart. 
 
 Wardrop, James, of Torbanehill (1731-1830). Bust turned to right ; head almost full face, grey hair. Raeburn 
 
 Exhibition, 1876. Mrs. Arthur Shirley. Scottish International Exhibition, 1908. J. C. War-drop, Esq. 
 Wardrop, James, of Torbanehill, Linlithgowshire. In dark dress with white stock. 29^ x 24J. 
 
 A. Wertheimer, Esq. (c) 1911. 
 Wardrop, James, of Torbanehill, by Sir Henry Raeburn, R.A. This picture is a very fine replica of the 
 
 beautiful and important portrait in the possession of the Wardrop family, and is said to have been painted 
 
 when the sitter was 92 years old — four or five years before Raeburn's death. It was the property of the 
 
 late Dr. Dyce Brown, London, and is now in the possession of G. S. Davidson, Esq., 8 K'elvingro\e 
 
 Terrace, Glasgow. 
 Wardrop, James, iM.D. ; (1782-1869). Famous oeculist and Surgeon-in-Ordinary to Gcoi-ge IV. ; had a large 
 
 collection of pictures. Raeburn Exhibition, 1876. Maitland Wardrop, Esq. 
 Warner, R., of Bath ; 25 x 30. Wallis & Son. 
 Watson, Walter T, son of Captain Andrew Watson, of Hunthill. Portrait in Pastel; executed about 1796. 
 
 Raeburn Exhibition, 1876. Dr. Sidey. 
 Wauchope, .Andrew, of Niddrie ; 59 X 45. Lent to R,.'\. in 1908, by Mrs. Wauchopc. 
 Wauchope, James (1767-1797). 
 Wauchope, John, Esq., W. S. ; born 1751 ; admitted W.S., 1774 ; died 1828. To waist, leaning back in chair, 
 
 the figure turned towards the left, the genial face almost full front and slightly inclined to one side. He 
 
 wears a double-breasted white waistcoat and a dark blue coat, the left arm brought across the lower edge 
 
 of the picture, is obscured by a cast shadow. \\'arm dark grey background; 30 x 25. Presented to 
 
 Scottish National Gallery by Rev. H. B, Sands, 1884. 
 Wauchope, John (1742-1810), of Edmonstone. Sir John Don Wauchopc, Bart. 
 Wauchope, Colonel John, of Edmonstone, second son of John W.uichope and Anne Erskine (1769-1837). 
 
 Raeburn Exhibition, 1876. Sir John Don Wauchope, Bart., of Edmonstone. 
 Wauchope, Mrs. John. (See Anne Erskine). 
 Wedderburn, Alexander. (See Earl of Rosslyn). 
 Wedderburn, James (1782-1822). Advocate. Solicitor-General for Scotland, 1S16. Raeburn Exhibition, 
 
 1876. Colin .Mackenzie, Esq., W.S. Mrs. Mackenzie. 
 Wedderburn, Miss. (See John Johnstone). 
 
 Wedderburn, Mrs. Raeburn Exhibition, 1876. Colin Macken;:ie, Esq. Mrs. Mackenzie. 
 Wellwood, Rev. Sir Henry Moncrieff, Bart., D.D. 
 Wellwood, Mrs. Robert. (See Mary Preston). 
 
 Welwood, Hon. Alexander Maconochie. (See Lord .Meadowbank). 
 Welwood, Elizabeth, of Garvoek, wife of Allan .Maconochie, first Lord Meadowbank ; 24 v 29 Painted in 
 
 1818. R.A. in 1910. John A. Maconochie Wellwood, Esq. 
 Welwood, .Mrs. (See Anne Blair). 
 Wemyss, Francis, seventh Earl of (1779-1S53). Painted 1812. Lithograph by Carbonnier. Raeburn 
 
 Exhibition, 1876. Earl of Wemyss and March. 
 Wemyss, Countess of (Miss Margaret Campbell), wife of seventh Earl. Raeburn Exhibition, 1876. Earl of 
 
 Wemyss and March. 
 Wharton, Mrs. William. Marquis of Zetland, K.T. 
 White, Mrs., in white, wife of the Rev. Thomas White, of Lichfield; 30 x 24. Painted about 1822. Forbes, 
 
 1902. Sir R. T. White-Thomson, KC.B. 
 White, Mrs., of Howden. Her daughter. Miss Logan White, married Raeburn's son (?). Turned to left, 
 
 looking at spectator; in white dress and cap, black lace shawl; half length, life size ; 30 x 25, 
 
 Sedelmeyer, 1902. 
 Wilkie, Sir D., R.A. In brown coat and white stock; oval, 30 x 25. Wall (c) 1908. 
 
 62 
 
LIST OF PICTURES— continued. 
 
 Williams, Hugh William (Grecian Wrlliams). Water colour painter, author and traveller. Half length ; 
 tace three-quarters to the left ; 29i x 24J. Presented to National Portrait Gallery, in 1894, by Sir 
 Charles Tennant, Bart. - - J J 
 
 Wilhamsjn, iVIrs. Robertson, daughter of Wi!liam Roberlson, Esq., of Lawers ; married, in 1814, her cousin, 
 Uavid R.ibcrtson Williamson, Esq., of Balgray, Lord Balgray (Lord of Sessions). In white dress, cut 
 low at the neck, and fastened with a white satin bow at the waist ; pale pink satin coat, with long 
 sleeves and tassels; standing before a tree, resting her left arm upon a branch, and holding her hat, 
 trimmed wi^th roses, dangling from long grey ribbons; landscape and foliage background. 94 X 58J. 
 
 Willoughby d'Eresby. (See Lady Perth). 
 
 Wdson, Professor John, poet, essayist, and moral philosopher. Born 1785, in Paisley; studied at Glasgow 
 University and at Magdalen ColleL^e, Oxford ; in 1812 published his first volume, "The Isle of realms," 
 and other poems; in 1816, "The City of the Plague," In 1815 he passed advocate in Edinburgh on the 
 foundation of BlackwoOiVs Magazine. In 1817 he began his connection with that journal, of which, 
 however, he was never editor, as has been stated. In 1822 he began to contribute to its pages the 
 celebrated " Noctes Ambrosianae " of "Christopher North." In 1820 he was appointed to the Chair 
 of Moral Philosophy in Edinburgh University ; his eloquence and kindliness won the respect and love 
 of his students ; died 1854. His " Works," in twelve volumes, v/ere edited by his son-in law, Professor 
 Fcrricr, in 1855-58. Full length figure, turned to the left; face nearly fronting, with yellowish brown 
 hair and brown eyes ; his right hand rests on the neck of a brown horse to the left, and holds a hat and 
 the reins ; his left hand, hanging down by his side, wears a greenish grey glove, and holds another of 
 same; chocolate brown coat, with brass buttons; white cravat and vest, from beneath which a red 
 ribbon, with watch seals, appears suspended in front ; yellow riding breeches and long boots, spurred, 
 and with brown, turned-down tops; background of a mellow sky, with trees and hills'in distance, seen 
 between the horse's legs, and large brown tree to right; 93 x 58. Painted about 1805. Presented to 
 R.S.A. by his son, John \"\'ilson, Esq., S.N.P.G. 
 
 Wood, Alexander, President of Harveian Society. 
 
 Wood, Andrew, Surgeon, Edinburgh (1742-1821). Miniature. Raeburn E.xhibition, 1878. Dr. Wood. 
 (?) Miss Edmondstone. 
 
 Wood, Andrew ; 30 x 25. 
 
 Wood, Mrs. Andrew (Miss Russell), wife of Andrew Wood (1754-1845). Raeburn E.xhibition, 1876. Dr. Wood, 
 Edinburgh, (c), 1911. 
 
 Wood, Neville, when a child. Seated in a landscape, looking at a spectator, clad in white shirt, a fox terrier 
 lying by his side ; his right hand resting on its back, full length ; 29 x 24. E.\ the widow, Neville Wood. 
 Sedelmeyer, 1901. 
 
 Wood, Peter. 
 
 Wood, Thomas. A. R. Wilson-Wood, Esq. 
 
 Woodhouselee, Lord. (See A. Eraser Tytler). 
 
 Wright, Alexander, F.S.A. Exhibited, Dublin, 1878. 
 
 Wyld, Mrs., of Gilston. Raeburn Exhibition, 1876, Dr. Robert S. Wyld. 
 
 Wynne, Miss Justine Camilla. (See Mrs. Alexander Finlay). 
 
 Wynward, Colonel Harvey. Colonel Cornwallis West. 
 
 Young, Alexander, W.S. A. Rutherford, Esq. 
 
 Young, Mrs. A. Rutherford, Esq. 
 
 Young, Mrs. Graham, and child. Seated in a landscape, the mother with her left hand supports the child, 
 which stands on her knee ; with her right hand she holds above her head a flower, at which the child 
 looks, and stretches his hand to seize. Mother and child are dressed in white muslin. Life-size figures ; 
 39| X 36. Sedelmeyer, 1899. Sedelmeyer Gallery, Paris, 1908. M. H. Rosenheim, Esq. 
 
 The following were the property of Sir Henry Raeburn, R.A., and remained in the family until 1902. A 
 Derby Vase, painted with a wreath of flowers in colours, and gilt with arabesques, by Bloor ; II Jin. high ; 
 Six Derby white and gold coffee-cups and saLicers; A Worcester bowl, enamelled with figures in the 
 Chinese taste on dark blue and gold scale pattern-ground, and with border of foliage in colours and gold ; 
 9^in.diam. From this bowl Sir Henry Raeburn's grandchildi-en were christened; A Coalport dessert 
 service, printed with flowers in colours, and with raised white flowers, consisting of centre-dish, six 
 shaped dishes, and twelve plates. Believed to have belonged to Sir Henry Raeburn; A small circular 
 Sheraton mahogany table, with three drawers and shelf beneath, inlaid with patera ornament and 
 chequer borders in satin and other woods ; 15 in. diam. 
 
 6.^ 
 
TABLE OF CONTENTS. 
 
 Preface . - - , ■ 
 
 Sir Henry Raeburn, R.A. — 
 I. Introduction 
 II. Raeburn's Marriage 
 IIL Portraits of Burns and Scott 
 IV. Development and Method 
 
 V, Important Letters - 
 VI. Raeburn Prices 
 Illustrations - , , . 
 
 List of Pictures by Sir Henry Raeburn, R A. 
 
 PAGE 
 V. 
 
 Vll. 
 
 XX. 
 XXV. 
 XXX. 
 
 xxxviii. 
 
 xlviii. 
 
 1-36 
 
 37-63 
 
 LIST OF ILLUSTRATIONS. 
 
 Cianronald, and his t\\o younger Brothers 
 
 Sir Henry Raeburn 
 
 William Ferguson of Kelsie 
 
 Sir John Sinclair, Bart 
 
 Lady Raeburn - 
 
 Reginald George Macdonald of 
 
 Lord Newton 
 
 Mrs. James Campbell 
 
 The jMacnab 
 
 Mrs. Scott Moncrieff 
 
 Lord Eldin 
 
 Mrs. Alexander McCrae, Alexander McCrae, jun.. and Thomas Ann .^1cCrac 
 
 Mrs. Robertson Williamson 
 
 Mrs. Campbell of Possil 
 
 Sir John and Lady Clerk 
 
 .Mrs. Campbell and Son 
 
 Mrs. Munro . . - - 
 
 Lady Carmichael 
 
 Mr. Adam . . - . 
 
 Mrs. Adam . . - . 
 
 Miss E. M. Gibson Carmichael 
 
 Admiral Lord Duncan - 
 
 Mrs. Hamilton of Karnes 
 
 Mrs. Ferguson of Raith and her Children 
 
 John Wauchope, W.S. - 
 
 jMiss Jane Anne Catherine Frascr of Reelig 
 
 Master Hay - 
 
 General Sir Ronald Ferguson, G.C.B. 
 
 Facing Title. 
 Facing page viii. 
 
 ,, .xii. 
 
 ,, x\i. 
 
 ,, XX. 
 
 ,, .xxiv. 
 
 ,, xxviii. 
 
 ,, xxxii. 
 
 ,, x.io;vi. 
 
 xl. 
 
 ,, xliv. 
 
 ,, xlviii. 
 
 - Page 1 
 2 
 2 
 2 
 3 
 4 
 4 
 5 
 6 
 6 
 7 
 8 
 8 
 9 
 „ 10 
 
 64 
 
LIST OF ILLUSTRATIONS— foH^;«»frf. 
 
 Professor John Wilson 
 
 Boy with Rabbit 
 
 Neil Gow .... 
 
 Sir Walter Scott 
 
 Sir Ronald and Robert Ferguson of Raith 
 
 Mrs. Adams - . . . 
 
 Lady Miller of Glcnlee ■ 
 
 Mrs. Campbell of Park - 
 
 Mrs. Deans . . . - 
 
 Admiral Richard Deans 
 
 Mrs. Campbell of Ballimorc 
 
 Portrait of a Lady 
 
 Lord Abcrcromby 
 
 General Sir David Baird 
 
 John Gray of Newholm, W.S. - 
 
 Dr. Adam 
 
 Lady Charlotte Hope - 
 
 Mrs. Alexander Henderson ----- 
 
 Mr. Alexander Henderson - - - - - 
 
 James Wardrop of Torbanehill (J. C. Wardrop, Esq.) 
 
 James Wardrop of Torbanehill (G. S. Davidson, Esq.) 
 
 John, Earl of Hopetoun , - . - - 
 
 John Tait of Harvieston and his Grandson 
 
 John Tait, Esq. By Andrew Robertson. AJter Siy Henry Raebuni 
 
 Lady Janet Traill - - . - 
 
 W. Macdonald of St. Martin's, W.S. - 
 
 Mrs. Siddons (probably) 
 
 Colonel Alastair Macdonell of Glengarry 
 
 Mrs. G. J. Bell - - - - ■ 
 
 Mrs. Cruikshank - - . - 
 
 Professor Andrew Hunter, D.D., F.R.S.E. 
 
 Lord Braxfield — Faculty of Advocates 
 
 Lady Seton-Stuart . - - . 
 
 Lady Dalrymple . . . - 
 
 Lady Belhaven - - - - - 
 
 Mrs. Douglas of Brigton 
 
 Mrs. Tod of Dry Grange 
 
 The Earl of Hyndford . - - - 
 
 Portrait of Mrs. Hay - 
 
 Miss Jane Nisbet . . - - 
 
 Miss Anne Cunningham Graham of Gartmore 
 
 Dr. Nathaniel Spens . . - - 
 
 Lady Seton - - • - • 
 
 The Hon. Henry Erskine 
 
 The Leslie Boy ----- 
 
 Page 
 
 10 
 11 
 I'i 
 12 
 13 
 14 
 14 
 15 
 16 
 16 
 17 
 18 
 18 
 19 
 20 
 20 
 21 
 22 
 22 
 22 
 22 
 23 
 24 
 24 
 25 
 26 
 26 
 27 
 28 
 28 
 28 
 28 
 29 
 30 
 30 
 31 
 32 
 32 
 33 
 34 
 34 
 35 
 36 
 36 
 36 
 
 Cover Illustration: — Mrs. Scott Moncrieff, from 
 the Mezzotint printed in Colours by E. Gulland, 
 published by H. C. Dickins, 26 Regent Street. 
 
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 HISTORY OF SILHOUETTES 
 
 "By F. NEVILLE JACKSON 
 
 Author of "History of Hand-made Lace," "Toys of Other Days." &c. 
 
 Can now he ordered from am/ 'Qook^eller, or from the 'Publishers, "The Connoisseur,' Temple 
 C hanrbers, London, and remillance should be included for (he number required. 
 
 PRICE 10 6 net. Profusely illustrated with Colour and other Plates. 
 
 W \Slir\(.T' IN 
 
 IT is remarkable that a subject in which 
 the keenest interest is taken should 
 have remained so long without a 
 written history. 
 
 Even those who are familiar with Mrs. 
 Jackson's artistic, painstaking, and erudite 
 work in the pages of The Connoisseur 
 and her other volumes on the Arts and 
 Crafts of the I7th and I8th Centuries, will 
 be astonished at the extraordinarily interest^ 
 ing results of her research amongst many 
 thousandsof the lovely black profile portraits. 
 
 The Historp of Silhouettes contains 
 a complete picture of the social celebrities, 
 their pastimes, and the sterner business of 
 their life as shadowed in these delicate and 
 lovely portraits. Glimpses are shown of the 
 Vie intime of kings, queens, and princes, 
 
 ladies of the great and of the half-world, 
 statesmen, from Presidents Washington, 
 Harrison, and every member of the Senate, 
 down to the celebrities of Bath, Cheltenham, 
 and Saratoga. 
 
 Bishops, doctors, men of letters jostle one 
 another in the pages of this book, and the 
 specimens of rare porcelain and jewelled 
 Silhouettes will interest not only every lover 
 of these delicate and beautiful shades, but 
 also the whole of the artistic world. 
 
 During the six years in which Mrs. Nevill 
 Jackson has been engaged on this History, 
 she has compiled a list of nearly 300 
 Silhouettists from personal examination of 
 thousands of specimens, so that owners of 
 such relics, either by inheritance or purchase, 
 will be enabled to identify their treasures. 
 
 Publishers: "THE CONNOISSEUR," I Temple Chambers, Temple Avenue, E.G. 
 
GEO. DAVIDSON, LTD. 
 
 jfinc Bit (Ballcncs, 
 
 123 SAUCHIEHALL STREET, GLASGOW. 
 
 Dealers in High-Class Pictures 
 
 BY EMINENT BRITISH <S FOREIGN ARTISTS 
 
 .// LARGE AND VARIED STOCK jJLWAYS ON HAND OF 
 
 ORIGINAL ETCHINGS BY 
 
 WHISTLER Sir FRANCIS SEYMOUR HADEN 
 D. Y. CAMERON MERYON 
 
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 HEDLEY FITTON Etc 
 
 Pictures Restored. 
 
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 to tbc 
 
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 EDINBURGH. 
 
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 Edinburgh 
 
 WYLIE & LOCHHEAD 
 
 LIMITED. 
 
 Artistic House Furnishers, 
 Decorators and Designers, 
 Dealers in Antiques. ,0" /^ 
 
 
 45 Buchanan Street, GLASGOW 
 
OLD ENGRAVINGS AND PAINTINGS 
 FRAMED AND RESTORED. 
 
 ERNEST ALDEN, 
 
 39 KING'S ROAD, 
 SLOANE SQUARE, S.W. 
 
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 1419 Victoria. 
 
 A fine selection of Old Prints and Frames 
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 IJc Rntioiic 40 Berkeley Street, 
 
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 ILOrii' r I ;ranvill.' .Str-jf 
 
 Choice collection of Genuine Antique Furniture, China & Bric-a-brac. 
 
 Sbowiooiur-, Charing- Cross, Glasgow. 
 
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 and Frame Maker. 
 
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 Antique and Modern 
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 ^ A volume of AUCTION SalE Prices contains over five hundred pages of 
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 .'ilinioJiiinnc. ,in,l oir ■„,l,l III r,ifci C, .,.,■,>., 5/ , CI,,! /: . yl(. 
 
 George Morland 
 
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 pleu- l,ist of Eii^^i-.ueil Winks 
 
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 A Bii.-raphical Essay 
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 The Man, }Iis,\rt, His 'kinies, and His Signirii;ani.e 
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 l.'. stnl. jioin the I'liktrJnns, 
 
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 47 Duke Street, Ma.i\cKester Square, W. 
 
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 WANTED. Genuine Old Hunting, Racing 
 and Coaching Paintings 6 Engravings. 
 
 Winn III Hie ]l|i. III. ANUS or LONDON VISIT 
 
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 Court, Civil, & Sporting 
 
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 for Ladies c'C' (ientiemen 
 
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 St. Kilda, Slietland&otlier 
 
 HIGHLAND 
 HAND-SIHIN TWEEDS. 
 
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 IX 
 
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 PROCESS, ART 
 MERCANTILE 
 
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 MANCHESTER SQUARE, LONDON, W. 
 
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 FLEET STREET. LONDON. E.G. "'™oon 
 
Just The Thing \ 
 
 before going out into the I 
 damp and cold is a hot 
 cup of "The Most Perfect 
 l"orm of Cocoa " (rule 
 'Guy's Hospital Gazette'], ■. 
 
 which will not fail to keep [ 
 the blood at the proper ' 
 temperature to resist chills 
 and colds. 
 
 "HAS WON MORE AWARDS 
 THAN ANY OTHER." 
 
 s 
 
 ilhouette of Prince Consort 
 
 Sisned "Fkiih, 1843." Size 10', in.,- ^^i 111. 
 Sepia l)arkL;'r( lUiul. 
 
 Gilt deciiration. 
 
 Raeburn Portrait in Oils 
 
 Of Man I'nknown. Si/e ^oin. x 25 in. 
 
 Queen Anne Walnut Bureau and BooKcase, 
 
 7 ft. 10 in, hi^h, 3 It z in, wide 
 
 Old I'iCTURts, Fuknituri:, Chin.v, Sc. 
 
 JAMES L. KIRKHOPE, 
 
 Fine Art Dealer, 
 
 59 Cambridge St., GLASGOW. 
 
 Kelly's Antique Art Galleries. 
 
 Unrivalled Display of Genuine Antique 
 Sheffield Plate :: Old Silver :: War Medals 
 Antique Jewellery :: Old Miniatures 
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 Old Bronzes. 
 
 RARE COLLECTION OF OLD HIGHLAND 
 SNUFF MULLS AND GOLD FOB SEALS. 
 
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 QUEENSGATE :. INVERNESS :: N.B. 
 
 RAEBURN 
 PORTRAITS 
 
 In STIPPLE and MEZZOTINT 
 
 luchiding 
 
 Ciii.oxi;l M.\( iii'ixKLL ((jf (ilengarry), 
 
 AkCHI l'.,\L|i CoxsT.Al-lLI-;, 
 
 SiK WiLLi.AM Miller, Lorh Glkxlle, 
 SiK J("iHN A. Mlkr.w, Sir F. Cii.^niry, 
 
 Joiix Hi'ME, Dr. Hamilldx, 
 Ur. N.\thanikl Si'exs, and \arious others. 
 
 Also 
 An Oil Portrait of a Gentleman of Title 
 
 Guaranteed to be bv Sik Hknk\' Raebuk.n. 
 
 DAVID HAY PEFFERS 
 
 YE PANTILES PORTRAIT SAIJ )N, 
 
 tunbridgp: wells. 
 
 COMMISSIONS executed at Christie's and other l.oadon Sales 
 
J. SPRATT, Z 
 
 be noted m ^ Curiosity Dealer 
 
 D ESTABLISHED 1835. I I 
 
 14 Northernhay Place (London Inn Sq.), EXETER 
 
 2^nn '''^'TURKS TO SKLECT FROM (collected from all leading 
 5%3v/V/ Auctions and private sources, principally in Dex'on and Cornwall, 
 
 IncladiriK : I-ADY HAMILT(jN (l.v K-mne-, ) ; hoUMIE BCKN'S (Earlv Work bv Raei;ukm , A I'EHI • THROV O H 
 
 THE TREES (GAi.-.si.uKnr,,H) : R.AROhS ON THE THAMliS lOil Sketch bv J M AY. Ti i:m-:k, RA); 
 
 MRS, FITZWILEIAM as " Indi\idual " in I om Noddx's Secret (by li Hamcsj, 
 
 And Specimens by Cooi'KK, Van Bliiek, Chx, Co.N^TAI:LE (R. De-Champagne), (^keen, C; rif |, ier, 
 GiRTiN, Greuzi;, IIaI-s, Harhrm., Hobrema, Meissoniek, MciRLANii, Rhil Morris, Millet, Nasaivth, 
 
 OsTATiE, SlRASTIAN, De-D]'"iM Ecj, r<EMI:RANDT, RViMiAEL, TRdMiN, WhEATLEV, etc., etC. 
 
 Water Colours and Miniatures— I'erte.n, Blucr, Coswav, L)arne',. Artih-r Heches, etc. 
 
 Rare Etchings — Remrrani>t, Ostahe, Whistler, etc. 
 Engravings uf e\ery description, including 'EMMA (liy J, Jones), and others too numerous to mention. 
 Autographs — \^', Shaksrere, Th\'nne Sweeteste, Stratforde, ARarcli 10; Nelson, AV, Renn, and others, 
 
 ANTIQUE ECRNITLRE, OLD CHINA, COINS, SILVER AND CURIOS OF EVERY DESCRIPTION PURCHASED. 
 
 \- UJ ATlnXS ,l,V/< COMMISSIdXS EXECLThli. 
 CUSTOMERS IN ALL PARTS OF THE WORLD. PLEASE NOTE.-Communicalc your wants and I «ill (ry 10 supply them. 
 
 Observe the Address: J. SPRATT, 14 Northernhay Place, EXETER