John Stirling, Portrait Pair, Scottish Cleric & His Wife – 1851 oil paintings
John Stirling, Portrait Pair, Scottish Cleric & His Wife – 1851 oil paintings
John Stirling, Portrait Pair, Scottish Cleric & His Wife – 1851 oil paintings
John Stirling, Portrait Pair, Scottish Cleric & His Wife – 1851 oil paintings
John Stirling, Portrait Pair, Scottish Cleric & His Wife – 1851 oil paintings
John Stirling, Portrait Pair, Scottish Cleric & His Wife – 1851 oil paintings
John Stirling, Portrait Pair, Scottish Cleric & His Wife – 1851 oil paintings

John Stirling Portraits of a Scottish Professor or Cleric & His Wife

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An original 1851 oil painting, John Stirling, Portraits of a Scottish Professor or Cleric & His Wife.

This impressive pair of mid-19th-century portraits are by the Scottish artist John Stirling (1820–1871).

Whilst the identity of the sitters is unknown, they are likely to be Scottish and the male portrait indicates that this was a man of learning: the black gown and 'preaching bands' collar indicate the possession of an advanced university degree and were items worn by professors and lawyers as well as clerics. The sumptuous draped red curtain is a compositional device that was used by great portraitists such as Anthony Van Dyck and Sir Thomas Lawrence, to create both a sense of grandeur and intrigue. The hint of a bookshelf behind the curtain alludes to the sitter's learning. Rather unusually, the gentleman wears one black glove. Gloves have been used in Western portraiture throughout history, charged with symbolic significance—emblematic of fidelity and loyalty. Perhaps here of significance is the attention drawn to the ungloved hand, refined and poised—ready to extract a book from the shelf, or representing the capacity for human care.

The woman, presumed to be the gentleman's wife, is dressed in smart finery and sports the fashionable ringlet hairstyle of the day. Her setting associates her closely with nature, in a manner that recalls Gainsborough: not only does the abundantly leaved tree arch behind her but also her chair itself is constructed out of a natural branch, entwined with ivy. The portrait therefore fulfils Romantic tastes for landscape and a greater informality in portrait painting.

Painted on Charles Roberson & Co., 51 Long Acre, London board. Additionally the female portrait bears the label of Gifford & Mair Carvers & Gilders, 163 Union Street, Aberdeen, on the reverse side of the board.

The paintings are presented in matching substantial 19th-century gesso and wood gilt frames.

Image size: 39.5 x 32cm. Frame size: 56 x 48.5cm (each).

+ Read the Artist Research

John Stirling (1820–1871)

John Stirling (1820–1871) is best known for his rich genre scenes, and in later life, his Moroccan subjects. These portraits, dated 1851, are from relatively early in the artist's career, when he was still living in Scotland. Born in Peterculter, Aberdeenshire, John was the eldest child of Rev John Stirling (1785–1839) and came from a cultivated family of ministers, merchants, architects, accountants and notaries. Following the death of his father he is listed in 1851 and 1853 as an 'artist-painter' living at 5 Broadford bank, Kingsland-place, Aberdeen. He first exhibited paintings at the Royal Academy in 1852. In 1855 he achieved some success and attention after John Ruskin praised his painting 'Scottish Presbyterians in a Country Parish Church–The Sermon'. An engraving of this work was reproduced in the London Illustrated News and a glowing review published in The Spectator on June 2, 1855.

Stirling continued to exhibit paintings at the Royal Academy almost yearly over two decades, until his death around 1871. His addresses include Hyde Park and Marylebone, as well as Aberdeen, suggesting he spent time living in London as well as Scotland. Stirling's painting style suggests the influence of the Pre-Raphaelites—his great attention to detail, a desire to reflect nature accurately and also finding inspiration in literary sources.

Stirling spent the winter of 1868 to 1869 in Tangier, Morocco and exhibited several Moroccan scenes at Royal Academy over the following two years. He is thought to have died suddenly while abroad although official documentation of this is lacking.

COA
+ Artwork Details

Dimensions: Height: 56cm (22.05") Width: 48.5cm (19.09")

Presented: Framed.

Medium: Oil

Age: Mid-19th-century

Signed: The male portrait is signed at the lower right.

Inscribed: No.

Dated: The male portrait is dated at the lower right.

Condition: In excellent condition overall. The male portrait has a small area of chipping to the paint at the upper edge, which does not detract from the overall impression. There are a small number of further minor paint losses to the far outer edges of the board on both pictures, which are adequately covered by the frames. The frames are in good order, save for some minor wear and hairline cracking, commensurate with age. Gaps outside the edges of the boards on the reverse have been historically filled to prevent movement within the frame. Please see photos for detail.

Stock number: KB-313