Sir Henry Raeburn R.A., P.R.S.A. 1756-1823

Half length, seated, wearing a cream dress and a green shawl

By descent to Sir Robert Mackenzie of Coul, his sale, Christie's, 20th November 1970, lot 205

Edinburgh, Royal Scottish Academy, Exhibition of the Works of Sir Henry Raeburn, 1876, no. 315;
Grafton Gallery, Scottish Old Masters, 1895, no. 16;
Edinburgh, National Gallery of Scotland, Raeburn Bicentenary Exhibition, 1956, no. 21;
Edinburgh, Scottish National Portrait Gallery, and London, National Portrait Gallery, Raeburn The Art of Sir Henry Raeburn, 1997-8, no. 24;
On loan to Philadelphia Museum of Art, c. 1997 

William Raeburn Andrew, Life of Sir Henry Raeburn, R.A., 1886, p. 137;
Sir Walter Armstrong, Sir Henry Raeburn, 1901, p. 108;
Edward Pinington, Sir Henry Raeburn R.A., 1904, p. 239;
James Greig, Sir Henry Raeburn, R.A. His Life and Works with a Catalogue of his Pictures, 1911. p. 52;
David Mackie, Complete Catalogue of Raeburn, Life and Art, unpublished PhD Thesis, University of Edinburgh, 1994, no. 499 and plate 75

The canvas has been lined. There would appear to be no tears or damages and the work would appear to be in excellent condition. The painting is ready to hang. Examination under ultraviolet light reveals a thick varnish which obscures a clear reading. There is evidence of some light touches of repaint to the sitter's neck, but otherwise no evidence of recent retouching. Held ina gilt wood frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
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The sitter was the daughter of Robert Ramsay of Camno, Perthshire, who married, in 1778, Alexander Mackenzie of Coul, later 6th Baronet.  Her husband was a Major-General in the Bengal Army and Provincial Commander-in-Chief at Bengal from 1790-1792.  In the latter year he succeeded to his family estate in Ross-shire but he survived only four years. 

The painting is a unique portrait in Raeburn's output and comes from the most innovative stage in his career, the years c. 1790-c. 1799.  Beginning shortly after his return from Rome there was an outpouring from Raeburn's George Street studio of inventive portraits of quite exceptional variety.  Many of these portraits are unique and they caused earlier scholars the greatest difficulties in understanding the artist's development. The wide range in the artist's portraits during this period is shown by "Captain Robert Hay of Spot" (Louvre, Paris) "John Johnstone of Alva with his Sister and Niece" (National Gallery of Art, Washington, DC), "Sir John and Lady Clerk of Penicuik" (National Gallery of Ireland, Dublin) and "Reverend Robert Walker Skating on Duddingston Loch" (National Galleries of Scotland, Edinburgh) [Mackie, op.cit., nos. 158, 238, 437 and 731 respectively].   Arriving at a confident dating for one of these portraits is, however, seldom easy, but as Lady Mackenzie does not wear mourning the painting must predate her husband's death in 1796.  A date of c. 1793 would seem reasonable.   Raeburn was never again to depict a sitter with quite this gentle, melancholic sensibility.

A further unique painting by Raeburn from this time is his full-length portrait of Lady Mackenzie's son "Sir George Steuart Mackenzie Bt, as a Boy (1780-1848)" (location unknown), sold Sotheby's, New York, 12th January 1995, lot 89 (ibid. no. 500a) which is of much the same date as his mother's portrait.  The boy became one of the distinguished scientists of his generation.  His primary interest was mineralogy and he first attained note by proving that the chemical composition of diamond was carbon.  He is said to have burnt is mother's jewels as part of this research.  Sir George sat again to Raeburn as an adult and that portrait was exhibited at the Royal Academy, London, in 1813 (ibid 500b).  Raeburn too had scientific interests.  Early sources tell us that he was knowledgable in naval architecture and that he built his own models.  A friendship seems to have developed between artist and sitter for in 1820 Sir George was one of the three sponsors when Raeburn was elected Fellow of the Royal Society of Edinburgh.  The others were William Adam of Blairadam and Sir David Brewster.

David Mackie, St Catherine's College, Cambridge