Stickland Lowry (1737-1785), Portrait of an Infantry Officer c.1780

18th century British portrait of an infantry officer c.1780 attributed to Stickland Lowry (1737-85)

Stickland Lowry (1737-85) Lowry was a portrait painter who was born in Whitehaven Cumbria and is recorded as working in Staffordshire, Shropshire, Dublin and particularly the North of Ireland where he stayed until the early 1780s.

He contributed thirteen engraved views of churches, which appeared in History and Antiquities of Shrewsbury (1779). He was patronised by Sir John Rawdon, 1st Earl of Moira and besides portraits, his output embraced still-life and trompe l’oeil paintings, works which show him to have been a versatile and accomplished painter.

The elegant sitter is depicted three quarter length between foliage against a stormy sky and military encampment. His left hand is in his pocket, whilst his right hand grasps his sword, and his hat is tucked in his arm. With his head and eyes are averted away from the viewer, he gazes off as if lost in thought.

We know that this gentleman is an infantry officer as his uniform is cut according to the 1768 Clothing Warrant, and his costume is comprised of a scarlet coat with black facings and silver paired buttons, worn over a frilled white shirt, grey waistcoat and silver gorget which glistens in the light.

It is likely that this officer is a Militia officer because his buttons are not numbered and also because his sword knot. From 1767 regiments were ordered to number their buttons with their regimental precedence number and these could appear in Arabic or Roman numerals, but there are none here. His silver lace knot with black stripe is also not of the type worn by officers since at least 1751 by regular officers.

Militia, part-time soldiers officered by the local land-owning class and organised by county or, in the case of Yorkshire, by Riding. The Militia was for Home Defence only and could not be sent overseas. It was “embodied” - called out for active duty - during wartime and, in combination with those Regular regts that remained in GB, it constituted the army that would repel any invasion from France. After the French and Spanish joined in the American War of Independence in 1778, the Militia was embodied and did not stand down until early 1783.

During the Summer both Regulars and Militia went into camps of exercise strategically positioned in Kent and Essex in order to be on hand to repel invasion. The background shows exactly the sort of encampment that one would expect.

Of particular note here are the rose the officers lapel as well as the heart-shaped jewel on his shirt ruffle. The Regular regiments that fought the battle of Minden in 1759 always (and still do) wear roses in their buttonholes to commemorate that date, but no regt at Minden had black facings.

This work may even be a rare surviving example of a marriage portrait, charged with emotion and referring to a private matrimonial event. In an excellent state of conservation, it is ready to hang and enjoy in its original carved black wooden frame with gilt highlights.

I am most grateful to art historian Adam Busiakiewicz for his generous suggestion regarding the authorship of this work and Dr Andrew Cormack for his invaluable assistance with military and historical details.

Provenance: Private collection New England USA.


Canvas: 38 x 30 in / 97cm x 76.5cm
Frame: 44 1/2 x 38 in / 113cm x 97cm