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Lot Essay
Thomas Fairfax, 3rd Lord Fairfax of Cameron, was the leader and guiding force of Oliver Cromwell’s ‘New Model Army’ during the English Civil War. Born in 1612, he studied at St John’s College Cambridge and Gray’s Inn before joining Sir Horace de Vere’s army in the Low Countries to learn the art of war. Fairfax was knighted by Charles I for his efforts in the first and second Bishops Wars against the Scottish armies. Though he had supported the Crown in these struggles, Fairfax believed in the power of Parliament as a stabilising body and joined Cromwell on the outbreak of war in 1642 as Lieutenant-General of the horse in the northern Parliamentary army. Three years later, he became Lord General of the New Model Army, the restructured Parliamentarian force, where his soldiers gave him the nick-name ‘Black Tom’ for his dark hair and swarthy complexion. Despite his belief in the Parliamentary vision and the need to depose the King, Fairfax was inherently against Charles’ execution. Charles himself described Fairfax as ‘a man of honour, [who] keeps his word that he had pledged to me’ (The Encyclopaedia Britannica, 7th ed., vol IX, London, 1842, p. 479.)
Painted in 1646, this portrait may commemorate the final capitulation of the Royalist armies to the Parliamentary forces; Charles held no garrison or army in England from September 1646, Oxford having fallen in June of that year. The impressive jewel that hangs from the chain across his breast-plate is likely that which was offered to him as a gift following his victory at the decisive Battle of Naseby in 1645, the success which led to Fairfax re-taking the Royalist held West Country. With his sumptuous slashed orange sleeves and green sash, Bower’s portrait differs from the austere portraiture more often connected with the Parliamentary leaders, such as Samuel Cooper’s depiction of Oliver Cromwell (National Portrait Gallery, London). Bower was renowned for his portraits of leading Parliamentarians. He painted Fairfax on at least two occasions; a mounted full-length portrait is known from various print versions, such as William Marshall’s example of circa 1647-1649 published by John Partridge (National Portrait Gallery, London).
Painted in 1646, this portrait may commemorate the final capitulation of the Royalist armies to the Parliamentary forces; Charles held no garrison or army in England from September 1646, Oxford having fallen in June of that year. The impressive jewel that hangs from the chain across his breast-plate is likely that which was offered to him as a gift following his victory at the decisive Battle of Naseby in 1645, the success which led to Fairfax re-taking the Royalist held West Country. With his sumptuous slashed orange sleeves and green sash, Bower’s portrait differs from the austere portraiture more often connected with the Parliamentary leaders, such as Samuel Cooper’s depiction of Oliver Cromwell (National Portrait Gallery, London). Bower was renowned for his portraits of leading Parliamentarians. He painted Fairfax on at least two occasions; a mounted full-length portrait is known from various print versions, such as William Marshall’s example of circa 1647-1649 published by John Partridge (National Portrait Gallery, London).