When renowned Scottish poet and lyricist Robert Burns died in 1796 at the age of 37, there was only one significant portrait of him — a modest oval painting by Alexander Nasmyth — though it was believed that Henry Raeburn, one of Scotland’s most revered artists, had also created a rendition inspired by the original.
Over the next two centuries, the whereabouts of Raeburn’s painting remained a mystery. Even Arthur Conan Doyle, the creator of Sherlock Holmes , had reported about 100 years ago about a séance held to find the painting.
“Burns fanatics were looking for it because it was described as a portrait of the greatest Scotsman painted by Scotland’s greatest artist,” said Edinburgh-based scholar William Zachs.
Now finally, thanks to some sleuthing by experts including Zachs, the painting has been recovered and is on display at the National Galleries of Scotland.
Locating the artwork
Zachs, 65, owns a collection of about 40,000 items linked to 18thcentury Scotland. So, when a friend texted him last year about a painting of Burns on sale at a London auction house, he called Duncan Thomson, a former director of the Scottish National Portrait Gallery.
The pair scrutinised a high definition photograph of the painting on their phones and saw that the artwork, estimated for between $400 and $700, fit the description of the portrait that Scotland had been seeking for more than two centuries. Three days later, Zachs entered a bidding war for the piece, eventually securing it for about $113,000.
The auction house, Wimbledon Auctions, said the painting’s significance was unknown when the work went up for sale. “The painting came in, I looked at it, and I thought, ‘It actually looks quite good,’” recalled Felix Turner, the auction house’s director. But by the time he had done further research, its estimate was already posted and couldn’t be changed.
Gone missing
Zachs said the portrait was painted about six years after Burns died, for use in a new edition of the poet’s works that was in production. “In my own collection, I have a letter that pinpoints the moment when a decision was made to engage Henry Raeburn as the painter,” said Zachs.
Zachs added that the portrait was commissioned by the London-based publisher Thomas Cadell. But after that, the trail went cold, said Patricia Allerston, the chief curator at the National Galleries of Scotland. “It’s likely that when the firm folded sometime later, the painting was sold,” she said.
Zachs said that all the experts he showed the painting to had vouched for its authenticity. “Duncan Thomson made the initial attribution. Lesley Stevenson, head of conservation at the National Galleries of Scotland, followed, along with other curators,” Zachs said.
Restoring a legend
The painting had slightly yellowed with age, and so, had to be sent for restoration. “It was in an unusually good condition,” said Emily Jenkins, managing director, Simon Gillespie Studio in London. Jenkins explained that the studio doesn’t usually authenticate artworks, but she believed that it was a Raeburn.
Now, the depiction of Burns is hung next to the Nasmyth portrait that inspired it, alongside several other lifelike Raeburn works. Stevenson said Raeburn really knew how to make viewers feel as if Burns were in the room. “He really has captured a real person,” she said .
Over the next two centuries, the whereabouts of Raeburn’s painting remained a mystery. Even Arthur Conan Doyle, the creator of Sherlock Holmes , had reported about 100 years ago about a séance held to find the painting.
“Burns fanatics were looking for it because it was described as a portrait of the greatest Scotsman painted by Scotland’s greatest artist,” said Edinburgh-based scholar William Zachs.
Now finally, thanks to some sleuthing by experts including Zachs, the painting has been recovered and is on display at the National Galleries of Scotland.
Locating the artwork
Zachs, 65, owns a collection of about 40,000 items linked to 18thcentury Scotland. So, when a friend texted him last year about a painting of Burns on sale at a London auction house, he called Duncan Thomson, a former director of the Scottish National Portrait Gallery.The pair scrutinised a high definition photograph of the painting on their phones and saw that the artwork, estimated for between $400 and $700, fit the description of the portrait that Scotland had been seeking for more than two centuries. Three days later, Zachs entered a bidding war for the piece, eventually securing it for about $113,000.
The auction house, Wimbledon Auctions, said the painting’s significance was unknown when the work went up for sale. “The painting came in, I looked at it, and I thought, ‘It actually looks quite good,’” recalled Felix Turner, the auction house’s director. But by the time he had done further research, its estimate was already posted and couldn’t be changed.
Gone missing
Zachs said the portrait was painted about six years after Burns died, for use in a new edition of the poet’s works that was in production. “In my own collection, I have a letter that pinpoints the moment when a decision was made to engage Henry Raeburn as the painter,” said Zachs.Zachs added that the portrait was commissioned by the London-based publisher Thomas Cadell. But after that, the trail went cold, said Patricia Allerston, the chief curator at the National Galleries of Scotland. “It’s likely that when the firm folded sometime later, the painting was sold,” she said.
Zachs said that all the experts he showed the painting to had vouched for its authenticity. “Duncan Thomson made the initial attribution. Lesley Stevenson, head of conservation at the National Galleries of Scotland, followed, along with other curators,” Zachs said.
Restoring a legend
The painting had slightly yellowed with age, and so, had to be sent for restoration. “It was in an unusually good condition,” said Emily Jenkins, managing director, Simon Gillespie Studio in London. Jenkins explained that the studio doesn’t usually authenticate artworks, but she believed that it was a Raeburn.Now, the depiction of Burns is hung next to the Nasmyth portrait that inspired it, alongside several other lifelike Raeburn works. Stevenson said Raeburn really knew how to make viewers feel as if Burns were in the room. “He really has captured a real person,” she said .
