Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 59 works by John Henry Lorimer in our catalogue
In short
Of all the originals John Henry Lorimer left, the most famous is Spring Moonlight (1896). Close behind it come Conversation Piece, Hannah and Alice Lorimer (1879) and The Flight of the Swallows (1906). Our catalog holds 59 works by John Henry Lorimer; the gallery has kept the 59 the world admires most, each shown with its date, its museum and its story.
The room breathes with a gentle, hushed energy as a social gathering unfolds within its walls. A woman stands near a window, her long dress catching the pale glow of the moon, cradling a baby in her arms. This central figure anchors the scene, her presence a calm center amidst the subtle movement of others. Around her, people are scattered through the space—some seated in quiet conversation, others standing in…
The air in the room feels heavy with the scent of fresh blooms and the soft rustle of heavy fabric. Two women, Hannah and Alice, occupy the space with a quiet, shared purpose. Hannah stands to the left, her hand resting gently upon Alice's shoulder, a gesture that speaks of a deep, unspoken connection between sisters. They are framed by a table laden with flowers, their presence amidst the vases…
A family gathers within the quietude of a home, their attention drawn toward a large window. Through the glass, a group of swallows moves across the sky, marking a transition in the natural world. A woman holds a child close, while other figures—a man and two women—occupy the room, their postures reflecting a shared moment of observation. The scene is defined by the way natural light floods the interior, illuminating…
This oil painting, executed in 1877, presents a portrait of an elderly man contained within an oval-shaped frame. The subject is positioned centrally, his figure occupying the majority of the oval space. He is depicted from the upper body upwards, with his head and shoulders forming the primary focus. The man possesses a prominent, textured white beard and hair that catch the light, contrasting against the darker tones of his…
In this 1879 portrait, we encounter Antony Gibbs, a man whose presence fills the frame with a quiet, settled authority. He is depicted in the prime of his life, his face framed by a full, well-groomed beard and mustache that speak to the dignity of his station. Dressed in dark, heavy clothing, he holds a rifle with a practiced ease, suggesting a life defined by the outdoors and the disciplined…
In this portrait, we find ourselves in the presence of an elderly man, seated with a stillness that suggests a lifetime of contemplation. He holds a small dog, a gesture that softens the gravity of his expression and introduces a sense of companionship into the frame. The lighting is heavily directional, casting deep shadows that define the contours of his face and the heavy folds of his clothing. This chiaroscuro…
The composition centers on a domestic interior where three figures occupy a richly appointed room. An elderly woman sits in a chair, her form anchored within the space. A young girl kneels on the floor near her, while a younger boy sits nearby on the rug. The setting is defined by a fireplace and ornate furniture that frame the central interaction. Light enters from windows and the hearth, casting long…
Antony Gibbs (1841-1907)1879 · Tyntesfield
12
Andrew Vans Dunlop (1805–1880)1883
13
San Giovanni Crisogono Altarpiece (after Giovanni Bellini)1880 · The National Trust For Scotland
14
Charlotte M. Yonge (1823–1901)1882 · National Trust
15
Sir Thomas Sutherland (1834–1922), Chairman of P O Steamship Company1882 · Scottish National Portrait Gallery
16
Hannah Lorimer Embroidering a Bedcover1885 · The National Trust For Scotland
17
Charles Rampini (1840–1907)1883 · Lerwick Town Hall
18
John Muir (1810–1882)1889
19
Sir Samuel George Johnson (1831–1909), Kt1891 · Nottingham Castle Museum And Art Gallery
20
Sir Robert Stodart Lorimer (1864–1929), Architect1886 · Scottish National Portrait Gallery
21
T. W. Lorimer1890 · The National Trust For Scotland
22
Sir Robert Stodart Lorimer (1864–1929)1886 · Riba Library Drawings And Archives Collections
23
The Ordination of Elders in a Scottish Kirk1891 · Scottish National Gallery
24
Sir Joseph Lister (1827–1912)1895
25
Lyon Playfair (1818–1898), 1st Baron Playfair of St Andrews1897
26
Charles George Shaw of Ayr1895 · The Baird Institute
27
Lord Lister (1827–1912), Professor of Surgery at the University of Glasgow1897
28
Lady Russell Cotes (1835–1920)1895
29
Reverend Peter H. Waddell1893
30
Sir Merton Russell Cotes (1835–1921)1895
31
Bishop Aeneas Chisholm (1836–1918)1900
32
Archibald Hamilton Charteris (1835–1908)
33
Alexander Lawson (1852–1921)
34
Professor John Gray McKendrick (1841–1926), Professor of Physiology at the University of Glasgow1908
35
Hush1906 · Touchstones Rochdale
36
The Finding of Moses (after Giovanni Battista Tiepolo)The National Trust For Scotland
37
Sunlight in the South Room, Kellie1913 · The National Trust For Scotland
38
The Long Shadows1918 · The National Trust For Scotland
39
A Beech Tree at Kellie1881 · The National Trust For Scotland
40
Walter John Francis ErskineNational Trust For Scotland
41
View of Kellie Castle
42
Le peintre des fleursThe National Trust For Scotland
43
A Still Life with a Vase of FlowersThe National Trust For Scotland
44
Woodhenge
45
Reconstruction Drawing of Richborough Roman Town
46
December RosesThe National Trust For Scotland
47
Ninian Patrick, Son of Lady and Lord Crichton StuartThe National Trust For Scotland
48
John Stuart Blackie (1809–1895)
49
A Gentleman Holding a Glove (after Titian)The National Trust For Scotland
50
Reconstruction Drawing of the Gateway to Britannia
51
Striped Roses in a Ship MugThe National Trust For Scotland
52
Interior Iona
53
A Room at Twilight Kellie CastleRoyal Scottish Academy of Art - Architecture
54
Sir John Scott, KCM, DCLCWigan Arts And Heritage Service
55
Sundown in Spring, Kellie Castle
56
Sir David ChalmersThe National Trust For Scotland
57
View through a WindowThe National Trust For Scotland
58
Sir Robert Christison (1797–1882), BtRoyal College of Physicians of Edinburgh
59
The Madonna and Child with Two Musical AngelsThe National Trust For Scotland
The four subjects that come back most often in these originals, each with its finest example.
The 8 museums that hold the most of the paintings on this page.
| Museum | City | Works by John Henry Lorimer | Paintings from this list |
|---|---|---|---|
 The National Trust For Scotland |
Pittenweem | 15 | San Giovanni Crisogono Altarpiece (after Giovanni Bellini), Hannah Lorimer Embroidering a Bedcover, T. W. Lorimer |
 Scottish National Portrait Gallery |
Edinburgh | 3 | James Lorimer (1818–1890), Jurist and Political Philosopher, Sir Thomas Sutherland (1834–1922), Chairman of P O Steamship Company, Sir Robert Stodart Lorimer (1864–1929), Architect |
 National Trust |
Bristol | 2 | Antony Gibbs (1841–1907), Charlotte M. Yonge (1823–1901) |
 Royal Scottish Academy of Art - Architecture |
Edinburgh | 2 | Maternal Instinct, A Room at Twilight Kellie Castle |
 Tyntesfield |
2 | Charlotte M. Yonge (1823 - 1901), Antony Gibbs (1841-1907) | |
 Lerwick Town Hall |
Kirkwall | 1 | Charles Rampini (1840–1907) |
 Nottingham Castle Museum And Art Gallery |
Nottingham | 1 | Sir Samuel George Johnson (1831–1909), Kt |
 Riba Library Drawings And Archives Collections |
London | 1 | Sir Robert Stodart Lorimer (1864–1929) |
Pick a decade to see the original that defines it.
The air in the room feels heavy with the scent of fresh blooms and the soft rustle of heavy fabric. Two women, Hannah and Alice, occupy the space with a quiet, shared purpose. Hannah stands to the left, her hand resting gently upon Alice's shoulder, a gesture that speaks of a deep, unspoken connection between sisters. They are framed by a table laden with flowers, their presence amidst the vases…
The room breathes with a gentle, hushed energy as a social gathering unfolds within its walls. A woman stands near a window, her long dress catching the pale glow of the moon, cradling a baby in her arms. This central figure anchors the scene, her presence a calm center amidst the subtle movement of others. Around her, people are scattered through the space—some seated in quiet conversation, others standing in…
A family gathers within the quietude of a home, their attention drawn toward a large window. Through the glass, a group of swallows moves across the sky, marking a transition in the natural world. A woman holds a child close, while other figures—a man and two women—occupy the room, their postures reflecting a shared moment of observation. The scene is defined by the way natural light floods the interior, illuminating…
Spring Moonlight (1896). Conversation Piece, Hannah and Alice Lorimer (1879) and The Flight of the Swallows (1906) come next.
40 years old: Spring Moonlight dates from 1896, and John Henry Lorimer was born in 1856.
Spring Moonlight, Conversation Piece, Hannah and Alice Lorimer, The Flight of the Swallows, Lord Patrick Allan Fraser, Advocate, Antony Gibbs (1841–1907), James Lorimer (1818–1890), Jurist and Political Philosopher, Maternal Instinct, Sir Robert Lorimer, ARA, as a Boy, James Lorimer (1818–1890) and Charlotte M. Yonge (1823 - 1901). The ranking above gives each one's year and museum.
Our catalog holds 59 works by John Henry Lorimer, dated from 1875 to 1918.
Mostly in The National Trust For Scotland (Pittenweem), Scottish National Portrait Gallery (Edinburgh) and National Trust (Bristol). The museum table above lists them all.
In 1890s: 13 of the 59 works on this page were made then, Spring Moonlight among them.
On this page, the earliest is Sir Robert Lorimer, ARA, as a Boy (1875) and the latest The Long Shadows (1918).
Victorian era (6), Portrait (4) and Portraiture (4), across the 59 works on this page.
Oil On Canvas, for 4 of the 59 works on this page.
Contemporary realism, judging by the originals on this page.
San Giovanni Crisogono Altarpiece (after Giovanni Bellini), Hannah Lorimer Embroidering a Bedcover and T. W. Lorimer: the The National Trust For Scotland, Pittenweem holds 15 of the works on this page.
In the golden age of late Victorian and Edwardian painting, few artists captured the quiet dignity of domesticity and the architectural grandeur of Scotland with as much grace as John Henry Lorimer. Born in Edinburgh in 1856 into a family of profound intellectual prestige, Lorimer was destined for a life shaped by both academic rigor and creative passion. As the son of James Lorimer, a distinguished professor at Edinburgh University, his early years were steeped in the scholarly atmosphere of Scotland’s capital. This foundation of discipline and observation would later become the bedrock of his artistic technique, allowing him to approach his subjects with a meticulous eye for detail and a deep respect for the historical weight of his surroundings.
Lorimer’s formal training was as much a journey through tradition as it was an exploration of modern light. Educated at the Edinburgh Academy and later at Edinburgh University, he sought refinement through the prestigious halls of the Royal Scottish Academy. Under the mentorship of masters such as Frank McTaggart and William Chalmers, Lorimer began to master the delicate balance between classical realism and the emerging influence of Impressionism. His brushwork learned to dance with light, capturing not just the physical form of a subject but the very atmosphere that enveloped it. This period of development was further enriched by his extensive travels across Europe; from the sun-drenched landscapes of Spain and Italy to the vibrant, culturally diverse vistas of Algeria, Lorimer absorbed a global visual vocabulary that he would later weave into the fabric of his Scottish scenes.
One of the most enchanting aspects of Lorimer’s career was the profound creative synergy he shared with his brother, the celebrated architect Robert Lorimer. Their relationship transcended mere familial bond, evolving into a collaborative legacy that helped define the aesthetic of their era. Nowhere is this more evident than in the magnificent restoration of Kellie Castle. While Robert worked to transform the dilapidated ruin into a triumph of architectural heritage, John was there to breathe life into its walls through his paintings. His depictions of the castle and its surrounding estates were not merely records of stone and mortar, but poetic celebrations of a revitalized Scottish identity.
This partnership allowed John Henry Lorimer to explore themes of permanence and nostalgia. Through his eyes, we see the intersection of man-made grandeur and the natural world. His ability to render the textures of ancient masonry alongside the soft, ephemeral light of a domestic interior created a sense of timelessness that remains captivating to modern viewers. This unique position—at the heart of both architectural revival and genre painting—ensured his place in the historical narrative of Scottish art.
Beyond the grand landscapes and architectural studies, Lorimer was a master of the human narrative. He possessed a rare ability to capture the psychological depth of his sitters, making him a sought-after portraitist for some of the most notable figures of his time. His portraits, including those of Lyon Playfair and the pioneering surgeon Joseph Lister, are characterized by a profound sense of character and dignity. He did not merely paint faces; he painted legacies.
In his genre paintings, Lorimer turned his attention to the intimate rhythms of everyday life. These works often feature:
The sheer volume of his contributions to the art world is evidenced by his frequent exhibitions at the Royal Scottish Academy and the Royal Academy in London. With over one hundred works showcased at the former, Lorimer established himself as a pillar of the Scottish art community. His death in 1936 marked the end of an era, yet his influence persists through the enduring beauty of his canvases, which continue to serve as windows into a vanished world of elegance, tradition, and profound artistic devotion.
