Open Content Program
The Birmingham Museum of art makes available digital images of works in the Museum’s collection believed to be in the public domain. Images are available free of charge for any use, commercial or non-commercial. Users do not need to contact the Museum for authorization to use these images. They are available through the Online Collection at artsbma.org/collection. See detailed instructions for specific work types below.
Identifying Open Content Images
The mission of the Birmingham Museum of Art is to spark the creativity, imagination, and liveliness of Birmingham by connecting all its citizens to the experience, meaning, and joy of art. The Museum understands that by sharing images of works online without restrictions, the BMA collection becomes more accessible to a larger audience.
For objects with images the rights status is displayed in the “credit line” section of the object information. The rights status or rights holder will be indicated. If the work is in the public domain and/or the image may be downloaded, the download icon will appear in the bottom right corner of the image area. To search the collection click here.
Works With Restrictions
For copyright-protected images that have been approved by copyright holders, a presentation-sized image is available, but can not be downloaded. A copyright statement clearly listing the name of the copyright holder is visible in the credit line area when the image is displayed. Thumbnail-sized images of copyrighted works are displayed under fair use.
When the owner of a work is impossible to determine or contact, the work is deemed an orphan work. The Museum will make thumbnails of orphan works available. If you are the representative or rights holder of an orphan work, please contact Rights and Reproductions.
Please use the following source credit when reproducing an Open Content image: Courtesy Birmingham Museum of Art, followed by the credit line provided in the object description.
Although there are no restrictions or conditions of the use of an Open Content image, the BMA would appreciate a gratis copy of any scholarly publication(s) in which the images are reproduced in order to maintain collection bibliography. Copies may be sent to the attention of:
Open Content Program
Digital Media Department
The Birmingham Museum of Art
2000 Rev. Abraham Woods Jr. Blvd
Birmingham, AL 35203
- If an image is not available under Open Content it may be because the work is still under copyright, the work is not owned by the museum, or the work has not yet been photographed to BMA standards.
- Request Images: If an image of a work is not available online or is under copyright, you may submit a request through our online request form. You may also request files in additional sizes or formats. A fee will be charged for this service.
- Our determination of public domain is made in good faith.
- Electronic records are based on historical information and may not be the Museum’s complete or current knowledge about an object. Research is ongoing.
- The ‘On View’ status may be delayed on the website by 24 hours. Please check with our Rights and Registration Office to confirm that a work of art will be on view before traveling to the Museum.
- Titles E. Finley, Esquire (Former title)
- Artist Sir Henry Raeburn, Scotland, 1756 - 1823
- Medium oil on canvas
- Dimensions 30 x 25 in. (76.2 x 63.5 cm) frame: 36 1/4 × 31 1/4 × 1 5/8 in. (92.1 × 79.4 × 4.1 cm)
- Credit Line Museum purchase, 1960.3
- Work Type painting
- Classification Paintings
- On View
- Signature Stretcher stamp, verso, top stretcher bar, center, printed metal label: ICA SPRING STRETCHERS / 344 S. Professor Street / OBERLIN, OHIO 44074
- Marks Stretcher stamp, verso, top stretcher bar, center, printed metal label: ICA SPRING STRETCHERS / 344 S. Professor Street / OBERLIN, OHIO 44074
- Inscription Verso, top frame rail, center left, black paint: 249 Verso, backing board, encapsulated (formerly on frame rail), printed label: LADY KNIGHTELY OF FAWSL Verso, backing board, encapsulated (formerly on tacking margin, top stretcher, center), stamped tape: VIS [illegible] / AUG [illegible] / 249 [in ink; recorded in February 17, 1987 as reading: “VISCOUNT FINLEY / AUG 1810 / 249”] Verso, backing board, encapsulated (formerly on stretcher bar), red ink on ripped label: M / Nomas / B. 1714 d. 179[ripped] / Painted by Rom[ripped] / ather [rippled] Verso, backing board, encapsulated, printed paper label: Thos. Agnew & Sons Ltd. / No. 20262 / by Appointment to the Late King George VI / London / 43 Old Bond Street / Piccadilly. W. / Birmingham [in ink] / U-S-A [in ink] Verso, backing board, encapsulated, ink on paper: [faded]rs Gooden & Fox / Printsellers, Publishers / and / Dealers in Works of Art / 57 Pall Mall, S.W. / opposite Marlborough House.) Verso, backing board, encapsulated (formerly top frame rail, center), printed label: PALACE OF ART / North East Coast Exhibition / Newcastle-upon-Tyne / 1929. Verso, backing board, encapsulated, printed label: PALACE OF ART / North East Coast Exhibition / Newcastle-upon-Tyne / 1929.
- Provenance Lady Louisa Knightley (1842-1913), at least after 1892 [see note 1]. Auctioned at Christie’s, London, December 12, 1908, lot 69 [see note 2]; purchased by dealer Gooden and Fox, London, and retained until at least 1911 [see note 3]. Lord Ridley [see note 4]; dealer Thomas Agnew and Sons, London [see note 5]; purchased by the Birmingham Museum of Art, Alabama, January, 1960
1. Her name on a label formerly on the frame. In 1892, her husband was knighted, and she received the title of Lady.
2. Listed in Baily, J. T. Herbert. “In the Sale Room.” The Connoisseur 23 (January-April 1909): 141.
3. According to annotated copy of catalogue at the Getty Research Institute. Purchase in 1908 recorded in Georg Biermann, “Von den Auktionen,” Der Cicerone 1 (1909): p. 41. In 1911, Gooden and Fox was listed as the owner in James Greig, Sir Raeburn, R. A. His life and Works with a Catalogue of His Pictures, (London: The Connoisseur, Otto Limited, 1911), p. 45. See object file.
4. According to bill of sale from Agnew and Sons to Birmingham Museum of Art, “Lord Ridley” previously owned 1960.3. This person is likely Matthew White Ridley, 3rd Viscount Ridley (1902-1964), London.
5. Thomas Agnew and Sons stock no. 20262.