Painted during the mid 1650s, this portrait miniature by Cooper is evidence of the artist’s smooth transition between patrons during the period of the Interregnum, before the return of Charles II to the throne at the Restoration in 1660.

Cooper had set up as an independent artist in 1642, breaking from his uncle, John Hoskins, and his studio. The same year, Civil War broke out in England, pitting neighbours and families against each other. Cooper remained in London during this time, painting both supporters of the King and Cromwell.

Although it is not possible to be certain, it is likely that this portrait of a young man depicts a supporter of Cromwell. Many Royalists would have fled London during this treacherous time, fearing their fate intertwined with that of their fated King who had been executed in 1649. Typically for the period, this young man is shown in armour, doubtless to show the participation of him or his family in the many battles fought during the war.

Cooper was the undisputed British master of portraiture during this period, painting some of the most psychologically penetrating images of the seventeenth century. Most memorably, these included the portraits he painted of Oliver Cromwell during the 1650s, through which was coined the phrase ‘warts and all’. Cooper’s portraits of Cromwell begin in 1649 and show the ‘Lord Protector’ wearing almost identical armour and white lawn collar to this unidentified gentleman.[1]

[1] The earliest portrait of Oliver Cromwell is now in the National Portrait Gallery, London (currently on display NPG 5589).