| xvi | | Viccy Coltman and Stephen Lloyd, Foreword
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| 1 | | Stephen Lloyd, Introduction. 'Indiscriminate praise is little better than censure': Critical Contexts for Understanding Raeburn's Portraiture
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| 35 | | Stephen Lloyd, 'I cannot coin money for them': Raeburn in the Nexus of Patronage, the Art Market and Global Trade
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| 66 | | Helen E. Smailes, Scotland Canova and the Immortal Raeburn
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| 97 | | Viccy Coltman, Raeburn's John Hope, 4th Earl of Hopetoun: The 'Knotty' Business of Portrait Painting in London and Edinburgh in the 1810s
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| 122 | | Godfrey Evans, In the Shadow of Jacques-Louis David's Napoleon: The 10th Duke of Hamilton and Raeburn
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| 153 | | Stana Nenadic, Raeburn and the Print Culture of Edinburgh, c. 1790-1830: Constructing Enlightened and National Identities
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| 179 | | Nicholas Tromans, A Portrait of the Artist in London: The Critical Reception of Raeburn's Royal Academy Exhibits, 1792-1823
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| 208 | | Philippe Bordes, The Critique of the Modern French School of Painting from Reynolds to Constable
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| 224 | | Robyn Asleson, Raeburn in America: Scottish-American Art Networks, 1791-1845
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| 258 | | Sarah Symmons, Raeburn and Goya: The Redefinition of Artistic Personality
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| 289 | | Matthew Craske, Raeburn's First Biography: Allan Cunningham's Presentation of the Artist as a Model Scottish Gentleman
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| 314 | | Jordan Mearns, 'Synonymous with manly portraits': Re-evaluating Raeburn's Women
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| 335 | | Olivier Leslay, Raeburn and France
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| 351 | | David Alexander, Raeburn and the Revival of Mezzotint Portraiture, 1890-1930
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