Until recently, the identity and artist of this intriguing martial portrait were unknown, however new research has identified the sitter as Major Robert Thomson and the artist as the great 17th century society portraitist Sir Peter Lely.

Robert Thompson was born in 1922, the youngest of four sons of Robert Thomson of Watton-at-Stone, Hertfordshire and his wife Elizabeth Harsflet. As the youngest in a large family Robert would have inherited little if any money or property and therefore, looking to make his fortune, he emigrated to America in the 1630s to join his eldest brother Maurice, who had become a successful merchant. By 1642, Robert had returned to England to fight in the Civil War, where he had risen to the rank of Major by 1645. Robert later became a Naval Commissioner from 1649 serving throughout the Interregnum.

By the time Oliver Cromwell had gained power as the Lord Protector, the Thomson family had gained enough wealth and influence to count him as a friend. Robert was in fact considered as a potential husband for one of Cromwell’s daughters. Robert’s brother Sir William Thomson served as a Member of Parliament for the City of London in 1659 and was thus able to help his brothers gain favour with Charles II after the Restoration, despite supporting Cromwell and the Commonwealth. Following the Restoration, Robert and his brothers were heavily involved with the newly founded East India Company serving as both Directors and also Governors. This portrait was painted in the mid-1650s, while Robert was serving as a Naval Commissioner, a position of considerable importance and responsibility. It is unsurprising that he looked to Sir Peter Lely (1618 – 1680) to fulfil the commission as shortly before painting Robert’s portrait, Lely had painted the Lord Protector Oliver Cromwell, bolstering his place as the greatest artist active in England.

Lely had arrived in London from Holland in 1641 where, despite his youth, he soon established himself as a painter of great merit. Following the deaths of Sir Anthony van Dyck in 1641 and William Dobson in 1646 there was an opening for the young Lely to establish himself as the country’s most significant talent. With the help of the artist and dealer George Geldorp, he gained introductions to some of the most significant patrons of the Commonwealth. During the 1650s Lely had started to develop a strongly independent style combining his Dutch training with the rich and elegant bravura of van Dyck, many of whose portraits the young Lely had studied on arriving to England.

This portrait of Robert Thomson is typical of Lely’s works from this period showing the sitter confidently gazing outwards to the viewer. Unusually, this work appears to be unique in that the sitter wears heavily gilt and elaborate armour. This type of armour was somewhat outdated by the time this portrait was painted, having been in fashion in the 1620s and 30s. Despite this it would have been enormously expensive and thus it can be presumed that in wearing it, Robert wished to show his new found wealth and position. Lely’s skill at rendering armour is evident with delightful impasto highlights to suggest the metallic gleam. Historically, Lely has been praised as a skilled and confident draftsman which becomes clear when looking at areas such as the crisp starched collar and billowing sash. Similarities can be seen when comparing this work to Lely’s slightly earlier portrait of Samuel Crew in which the artist has captured the same sense of the sitter’s self-assured gaze and attitude.