Portrait Of An Officer Around 1715 - Circle Of Michael Dahl (1659-1743)

A fine 18th century English portrait of an officer dating from circa 1715, the period of British military history most often associated with the Wars of the Spanish Succession. It depicts a previously unknown member of the illustrious Penn family, who is painted in a simulated oval. He wears a large powder wig and wears a large breastplate under his thin red coat. Recent conservation of this painting has revealed its high quality, and this is particularly visible in the coloring and modeling of the sitter's face. The stark contrast between the powerful grays of the wig and the dazzling scarlet frock coat helps make this an eye-catching image that demands close attention. Unlike French portraits of this period, these British portraits contain an energy and frankness rarely matched by contemporary examples from the continent. One of the most interesting elements of the painting's composition is the guardian's dress. It is clear that the sitter is wearing the breastplate which was made of the Elizabethan soldier Sir John Smythe (d. 1607). Smythe's armor, which survives at the Royal Armory in Leeds, was made between 1580 and 1590 and manufactured in one of the great centers of German armor, Augsburg. The gilt and engraved decoration, containing mannerist interlaced webbing work, is identical to that of the Smythe armour. Contained within the central cartouche of the strap work, and just visible in our painting, is a cross supported by two winged angels. It is reported that Smythe gave this armor to King James I in 1607, hence its entry into the collection of the royal armories. Although plate armor no longer served any practical purpose on the battlefield by the early 18th century, it is clear that patrons still wanted to evoke these ancient chivalric associations in their painted likenesses. Arms and armor scholar Sir James Mann had published an article in The Connoisseur in 1932 (Vol. 90, No. 373) drawing attention to this very subject. Mann had noticed that several portraits taken in the early decades of the eighteenth century featured sitters clearly wearing the breastplate of John Smythe's armor. He suggested that it is very likely that armor was loaned from the Royal Armories, then kept in the Tower of London, to painters and theater companies for props. It is possible that the particularly preserved gilding of Smythe armor appealed to aesthetically-minded artists. He mentioned that in 1727 the actor Colley Cibber borrowed a suit of armor from the Tower for a production of Henry VIII. Indeed, historic armor has even been loaned for special state occasions, including the Lord Mayor's pageant and coronations. John Symthe's armor had been used for the king's champion at the coronation of George II in 1727. Most appropriate, and relevant to our note, is that the Symthe armor bears the motto "FUTURA PRAETERITIS", meaning understand the future through the past. The two artists Mann highlighted as using this armor in their portraiture were Michael Dahl and Johan van Diest. Through extensive study of the Witt Library, Mann had not found the armor in any portraits of their contemporaries Godfrey Kneller or William Aikman. First, Dahl had painted Whitley Beauchamp's Private Richard Beaumont in harness, which remains the truest and most complete depiction of armor. This also appears to be the same costume worn by James Butler, 2nd Duke of Ormonde, painted by Dahl's studio around 1713 and now in the National Portrait Gallery, London. It is very likely that our portrait was created by an artist in Dahl's circle, this is particularly evident in the facial motif seen in this officer. The quickly painted curls and locks of the officer's wig, as well as the highly skilled smooth modeling of the guard's face and features, are particularly well preserved. Second, armor appears in the works of the Dutch artist Johan van Diest (1695-1757). Two paintings kept at the National Portrait Gallery, attributed to van Diest, show the two models wearing the same breastplate. They represent the 1st Earl Stanhope and George Wade. Both men had made their mark as soldiers, Stanhope playing a central role in the Wars of the Spanish Succession and Wade likewise becoming commander of British forces in Ireland in 1714. One might imagine that this brilliant chest armor was sought to elevate the militaristic achievements of these two gentlemen. Other models identified as having been painted in the armor are the 6th Earl of Strathmore and Colonel James Gardiner. Whoever our gentleman was, it is likely that he was of just as high a caliber as the figures mentioned above. Mann had noticed that the quality of the depiction of the armor was not consistent between the two artists. It appears that van Diest may have been using drawings or secondary sources, rather than having the breastplate in front of him for each sitter. This further raises interesting questions about how these paintings were produced in the studio. As was the practice with almost all portrait painters, heads were often painted first, with costumes and bodies added later using drawings, prepared studies, or manakins. This portrait is offered in excellent condition and is ready to hang in a period carved and gilded Carlo Maratta style frame which complements and enriches the tones of this beautiful 18th century portrait. The search for the guard is ongoing. Higher resolution images on request. Worldwide shipping available. Canvas: 25" x 30" / 64cm x 76cm. Frame: 31.5" x 38" / 80cm x 97cm