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Lot Essay
This important portrait of Cromwell is one of only a few known full-length portraits of the sitter. The scarcity of full-length images of Cromwell, who following the execution of King Charles I in 1649, was appointed Lord Protector, may in part be explained by the association of the full-length portrait format with the previous regime. In addition, while it was important to generate a new iconography for Cromwell to cement the new regime, full-length portraits may have been considered too time consuming.
The iconography of this portrait appears to relate to a number of different sources. The head relates closely to Samuel Cooper's unfinished portrait miniature of Cromwell (Private Collection) which is the source of many images of Cromwell, including various bust and half-lengths by Sir Peter Lely and his studio, the prime version of which is in the Birmingham Museum and Art Gallery. Cooper does not seek to flatter Cromwell and his miniature is generally thought to be the most reliable image of the man. The pose of the standing figure is derived from a portrait type popularised by Sir Anthony van Dyck, a stance seen in his portraits of William Laud (1573-1645), Archbishop of Canterbury (Fitzwilliam Museum, Cambridge), Thomas Howard, 2nd Earl of Arundel (1585-1646) (The Duke of Norfolk), and James Hamilton, 3rd Marquess, and later 1st Duke of Hamilton (1606-1649) (The Duke of Hamilton). The latter's pose and even the double bows on his boots are identical with the presentation of Cromwell in the present picture - a rather ironic paralell given that Hamilton was beheaded as a Royalist in 1649.
With Cromwell's rapid assumption of power came the need to create an immediate iconography which would underline his power and rightful position as Head of the Commonwealth. The underlying association of the standing figure of the Protector with the successful and powerful figures painted by van Dyck is strengthened by elements in the picture's background. Beyond Cromwell is a cavalry skirmish and a fleet of English men-o'-war, underlining his military and naval authority. This format and this staffage would have usually be reserved for royalty or important noblemen.
Some of the early sale provenance of this picture is uncertain - it may have been lot 98 in a sale at Fosters, London, on 19 May, 1830, described as a 'singularly fine whole-length Portrait of Oliver Cromwell, with a truncheon in his hand, and a helmet resting on a pedestal, on which his Arms are sculptured; and the back-ground a representation of the Battle of Dunbar'.
Cromwell led his army to a decisive victory over the Scots commanded by the Scottish General, David Leslie, in July 1650 at Dunbar following the Presbyterian declaration of Charles II as their King. Troops and supplies were brought in from sea as well as overland and the battle was of such critical importance that a commemorative medal was struck and awarded to any soldier who had been involved. A cavalry battle, similar to that in the present picture, is shown on the Dunbar medal.
The picture is known to have been in the collection of Reverend William Frederick Baylay, curate of St John's, Margate, by 1820, when it is praised by the artist, James Northcote, in a letter of 4 December 1820,
'In reference to the full length portrait of Oliver Cromwell ... I can assure you that I think it by far the best portrait I have ever seen of that extraordinary man and contained all the marks of a most faithful resemblance, the background also to the best of my recollection was particularly fine and indeed the whole picture was very little if any thing inferior to Vandycke'. (See lots 50-51 for portraits fo Richard and Baylay by Northcote).
The iconography of this portrait appears to relate to a number of different sources. The head relates closely to Samuel Cooper's unfinished portrait miniature of Cromwell (Private Collection) which is the source of many images of Cromwell, including various bust and half-lengths by Sir Peter Lely and his studio, the prime version of which is in the Birmingham Museum and Art Gallery. Cooper does not seek to flatter Cromwell and his miniature is generally thought to be the most reliable image of the man. The pose of the standing figure is derived from a portrait type popularised by Sir Anthony van Dyck, a stance seen in his portraits of William Laud (1573-1645), Archbishop of Canterbury (Fitzwilliam Museum, Cambridge), Thomas Howard, 2nd Earl of Arundel (1585-1646) (The Duke of Norfolk), and James Hamilton, 3rd Marquess, and later 1st Duke of Hamilton (1606-1649) (The Duke of Hamilton). The latter's pose and even the double bows on his boots are identical with the presentation of Cromwell in the present picture - a rather ironic paralell given that Hamilton was beheaded as a Royalist in 1649.
With Cromwell's rapid assumption of power came the need to create an immediate iconography which would underline his power and rightful position as Head of the Commonwealth. The underlying association of the standing figure of the Protector with the successful and powerful figures painted by van Dyck is strengthened by elements in the picture's background. Beyond Cromwell is a cavalry skirmish and a fleet of English men-o'-war, underlining his military and naval authority. This format and this staffage would have usually be reserved for royalty or important noblemen.
Some of the early sale provenance of this picture is uncertain - it may have been lot 98 in a sale at Fosters, London, on 19 May, 1830, described as a 'singularly fine whole-length Portrait of Oliver Cromwell, with a truncheon in his hand, and a helmet resting on a pedestal, on which his Arms are sculptured; and the back-ground a representation of the Battle of Dunbar'.
Cromwell led his army to a decisive victory over the Scots commanded by the Scottish General, David Leslie, in July 1650 at Dunbar following the Presbyterian declaration of Charles II as their King. Troops and supplies were brought in from sea as well as overland and the battle was of such critical importance that a commemorative medal was struck and awarded to any soldier who had been involved. A cavalry battle, similar to that in the present picture, is shown on the Dunbar medal.
The picture is known to have been in the collection of Reverend William Frederick Baylay, curate of St John's, Margate, by 1820, when it is praised by the artist, James Northcote, in a letter of 4 December 1820,
'In reference to the full length portrait of Oliver Cromwell ... I can assure you that I think it by far the best portrait I have ever seen of that extraordinary man and contained all the marks of a most faithful resemblance, the background also to the best of my recollection was particularly fine and indeed the whole picture was very little if any thing inferior to Vandycke'. (See lots 50-51 for portraits fo Richard and Baylay by Northcote).