Sir Godfrey Kneller Art

Portrait of a Gentleman, William Clayton, 1st Baron Sundon of Ardagh c.1695-1710 Studio of Sir Godfrey Kneller (1646-1723) This sumptuous portrait, presented by Titan Fine Art, was ...

Lady Jane Jackson (née Vandeput) (1679-1731), 17th Century by Godfrey Kneller (1646-1723) signed & dated Huge circa 1700 Old Master portrait of Lady Jane Jackson, oil on canvas by Godfrey Kneller. Leading example of Knellers work and beautiful three quarter length portrait of Lady Jackson wearing a red dress with the family estate beyond. Superb condition and provenance. Framed. Signed and dated 17** Jane was the daughter of Sir Peter Vandeput. The Vandeput's were wealthy merchants who had moved from Antwerp to London. She later married Philip Jackson...

Portrait of Thomas Smith Esquire c.1705 Sir Godfrey Kneller Bt. (1646-1723) Inscribed on dog collar ‘Tomas Smith’ This sumptuous large-scale portrait, with its interesting history, was painted by one of the best and most famous English portrait painters, Sir Godfrey Kneller. Kneller completed portraits of all the key figures of the time and was court painter to four sovereigns. He played a key role in the development of British art and influenced countless artists over generations. This portrait is one of his finest Augustan style portraits for which he is now best remembered and it dates from his later middle period when he produced his most distinguished paintings. The sitter is Thomas Smith Esq and inscribed on the dog collar is “Tomas Smith”. It is possible that he is a member of the large Lincolnshire Smith family which included the explorer John Smith (1580-1631) – but it is certain that he had considerable wealth as he commissioned the most fashionable artist in the country. Shown standing in a romantic landscape dressed in a tight-fitting green coat with a cloak drawn across it and a full-bottomed wig, he carries a sword and has a greyhound by his side. Just visible on the dog’s collar is an inscription: ‘Tomas Smith’. Portraits showing sitters walking through romantic landscapes had been made popular in the previous century by the great court portraitist Sir Anthony van Dyck, and Kneller would no doubt have looked to these earlier works as a template for this portrait. The sitter gazes confidently towards the viewer with a greyhound at his side. Kneller has succeeded in capturing the aristocratic confidence that many of his sitters would have wished to display. It is clear to see how Kneller uses the aristocratic gaze and excess of drapery to create portraits that personifies grandeur and extravagance. Its remarkable quality is evidenced by the fact that it was chosen to be exhibited in New York (in 1986) by the prestigious and one of the oldest commercial art galleries in the world, Colnaghi. From there, it was acquired by one of the greatest twentieth century collectors, Ray Livingstone Murphy (New York circa 1930/40). Murphy had travelled extensively throughout Europe building a collection of important books, paintings and porcelain. It is said that the breadth of his collection was only rivalled by the collection of William Beckford in the previous century. Kneller appears to have been an artist Murphy was particularly fond of as he also owned the oil sketch of William III on horseback, now located at the Het Loo Palace in Holland. The notable quality of the present portrait is further demonstrated by its inclusion in J. D. Stewart’s book “Sir Godfrey Kneller and the English Baroque Portrait” (Oxford University Press, 1983 pg. 137, n. 796). Kneller, who was German-born and Dutch trained, studied under Ferdinand Bol, and perhaps Rembrandt himself in the 1660s. He was in Rome and Venice between 1672 and 1675, settling in England in 1676 for life. He was soon employed at Court and became the most successful portraitist of the generation following Lely. He enjoyed the office of Principal Painter, at first jointly with John Riley (d.1691), from shortly after the accession of William and Mary in 1688 until his death. He was knighted in 1692 and became a baronet in 1715. His major works include a series of ten reigning European monarchs, including King Louis XIV of France; over 40 “Kit-cat portraits” of members of the Kit-Cat Club; and ten “beauties” of the court of William III. He was also head of the Kneller Academy of Painting and Drawing 1711-1716 in Great Queen Street, London. Titan Fine Art are pleased to present this striking and sumptuous portrait by the best artist of the period, and at the time he was producing his best works. Presented in a fine quality carved and gilded period frame with inscription on the bottom. Provenance: Private Collection, England Colnaghi, London Ray Livingston Murphy (1923-1953), New York (acquired from the above), and by descent to Dr James Murphy, New York Art Market, Dallas Philip Mould...

‘Portrait of Isabella Marshall’ by Sir Godfrey Kneller (1646-1723). This large fine early 18th century oil painting of a Georgian beauty is signed an...

A striking and extremely rare signed portrait of a Lady by Sir Godfrey Kneller. The lady, three-quarter length, is seated in a landscape, wearing a green silk gown with red cloak, ge...

Doddington Montagu, Countess of Manchester (1672-1721) by Sir Godfrey Kneller, bust-length oval, wearing a blue silk gown. Inscribed upper left 'Doddington, Countess of Manchester'. Oil on canvas in a period gitlwood frame. Circa 1712. 74.5 x 62.5cm (29 3/8 x 24 5/8) Provenance: Charlotte Montagu, Doddington's daughter, who married the 2nd Viscount Torrington. Viscountess Torrington, Yotes Court, Mereworth; her sale, Messrs. Foster, Yotes Court, 1 October 1923, lot 21 (66 gns.) M D P Dalison, and by inheritance to the father of the present owner in the 1950's. Doddington Montagu was the daughter of Robert Greville, 4th Baron Brooke, of Beauchamps Court, Warwickshire, and Anne Doddington. She married Charles Montagu, 1st Duke of Manchester...

An extremely rare signed portrait of a Lady by Sir Godfrey Kneller. The lady, three-quarter length, seated in a landscape, wearing a green silk gown with red cloak, gesturing to her...

Three-quarter-length, in a blue dress and red shawl, a wooded landscape in the distance Provenance: Sotheby's The work is stunning and has a great elegant presence in person

Portrait of Lady Henrietta Churchill, later Duchess of Marlborough (1681 - 1733) with her son William Godolphin, later Marquess of Blandford (c.1700 - 1731). Lady Henrietta is seated in an interior wearing a green silk dress with a rose coloured cloak beside a stone plinth supporting a classical urn to one side and drapery to the other. Her son wears a blue coat over a white chemise and holds the hand of his mother, with her other hand resting on his shoulder. Circa 1710 Oil on canvas in a giltwood frame Dimensions: 125.8 x 95.2cm Provenance: By descent to Henrietta's younger daugter Lady Mary Churchill, Duchess of Leeds (1723 - 1764) Thence by family descent until sold by the trustees of the 12th Duke of Leeds at Hornby Castle, Lancashire 1964 J.H.C. Evelyn; by whose trustees sold, London, Christies, November 1972 (as attributed to Kneller), sold to Ledbury Anonymous sale, London, Sotheby's March 1990 (as Charles D'Agar) Private collection London Henrietta Churchill was the eldest daughter of John Churchill, 1st Duke of Marlborough, and his wife Sarah Jennings. In 1722, on the Duke's death, she succeeded as Duchess of Marlborough in her own right. In 1698, she married Francis, 2nd Earl of Godolphin, the son of Queen Anne's Lord High Treasurer, becoming Lady Godolphin. She had five children, William (c.1700 - 1731), later Marquess of Blandford (seen in this painting), who married Catherine de Jongh, Henry (b.c.1700), Margaret (b.c.1703),Henrietta, later Duchess of Newcastle...