of the Red Regiment London Trayned bands, painted in 1644. I can’t find anything about this painting or where it is now, but I do know a little about the good Captaine who was a leading member of the London Company of Plaisterers before and after the war. He fought in at least one battle during the war and maintained his interest in all things military after the war as a member of the Honourable Artillery Company, (the oldest regiment in the Army which continues to provide reservists for HM Forces right up to today), rising to the rank of Lieutenant Colonel. Captaine Stanyan is dressed in his military buff coat which has some gold thread decoration on the seams of the sleeves and decorative clasps up the centre closing. He has plain but serviceable gauntlets and a splendid silk scarf tied at the shoulder, a practical arrangement that keeps the knot out of the way. His collar band is interesting too, seemingly a double layer of linen, each lined with narrow lace. I don’t usually comment on weaponry, but Stanyan has a pole axe or war hammer head on his pole arm and a short flintlock pistol suspended from his coat.
This painting is attributed to Dobson and shows the young prince, younger than he was when painted by William Dobson for the portrait that is better known. He is dressed as a soldier with buff coat over a slashed silk doublet, but the whole effect is riches, brocaded silk breeches, wide laced collar and soft boots with boothose to match his breeches. He’s holding a broad brimmed hat with a white ostrich plume and ribbon favour. There is an odd detail on the right hand, a silk scarf end has been painted but the scarf doesn’t seem to go anywhere. Perhaps it is just knotted around his arm or maybe it’s a mistake. This picture hangs in Kinloch Castle on the Isle of Rum
The cousin of the more famous Thomas Fairfax, Sir William also fought with distinction on the Parliament side during the war. Here he is painted, possibly by Edward Bower in an outrageous black taffeta scarf in front of his campaign tent, a typical battle scene in the background. He’s wearing a sleeved buffcoat and armour ready for war, but his accessories are just a bit too over the top for action. The picture hangs in the National Trust property Hatchlands, near Guildford.
Look at the metallic threads in the ribbons decorating his grey breeches and the end of his scarf, not to mention the perfectly starched linen double-layered white boot hose and spotless boots.
This detail shows clearly the thickness of leather in his buff coat and the gilding on the fixings of his armour. You can also see the butt joined seam on the coat sleeve.
Plain gauntlets agreed, but spot the metallic fringes.
And just outside the battle rages on. He’s not been near a battle in this get up. I’d put money on it!
Painted by an artist of the English School, this painting hangs in the Captain Cristie Crawford Collection. The Earl in a sumptuous braided white silk doublet with slashed sleeves, braided red breeches and a matching decorated buffcoat. High heeled boots, embroidered gloves and a polished back and breastplate. This is the epitome of a fashionable man of the 1640s