Godfrey Kneller, Portrait of an English Noblewoman, 1700, Oil on Canvas, Framed

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Godfrey kneller (lübeck 1646 – london 1723)

portrait of an english noblewoman, presumably mary capel, countess of essex (1679–1726)

oil … Read more Godfrey kneller (lübeck 1646 – london 1723)

portrait of an english noblewoman, presumably mary capel, countess of essex (1679–1726)

oil on canvas (128 x 104 cm - framed 146 x 121 cm)

work published in the rdk (netherlands institute for art history) archive, item number 2240998, attributed to godfrey kneller
https://rkd.nl/imageslite/2240998

full details of the piece

this magnificent portrait, exquisitely crafted and in excellent condition, depicts an elegant aristocratic woman wearing an ivory-colored silk dress and an elegantly draped mauve cloak that envelops her figure, invading the surrounding space, lending depth and opulence to the painting. Composition.

with her hair gathered in a loose hairstyle and a direct, serene gaze directed at the viewer, the portrait captures all the sitter's aristocratic grace and sense of self-assurance.

this is undoubtedly a valuable work, attributed to sir godfrey kneller (lübeck 1646 – london 1723) and published with this reference in the rkd archive catalogue: it is believed to be the portrait of mary capel, countess of essex, daughter of william bentinck, 1st earl of portland, an english nobleman of dutch origin who soon became the favorite of william, prince of orange (the future king of england) and his wife anne villiers. In 1692, lady mary married lieutenant-general algernon capel (1670–1710), 2nd earl of essex, and the couple had three children.

a beautiful woman, mary became one of the eight "beauties" of hampton court, the series of portraits commissioned from sir godfrey kneller by queen mary ii, featuring the eight most enchanting ladies of her court, to decorate the rooms of the palace.

for this reason, the countess must have been a well-known figure in her time, and the fame of these "beauties" meant that their likeness was in high demand, leading to numerous paintings.

in our work, in particular, her figure emerges from a dimly lit architectural background, illuminated by a light that enhances her complexion and sumptuous dress, featuring a low-cut bodice and wide sleeves trimmed with delicate lace.

her pose is casual, she sits confidently while gracefully pointing with one hand to a rose, a flower often included in sir godfrey kneller's portraits, taking on different symbolic meanings depending on the subject depicted: if placed alongside a young woman, it could indicate that the painting was commissioned close to her wedding, symbolizing love and fertility.

this type of portrait was typically sought after by the english nobility between the seventeenth and eighteenth centuries, where even the most aristocratic women liked to be portrayed stripped of their trappings, without ostentatious clothing, fashionable accessories, or elaborate hairstyles. This was to demonstrate that their status and value were innate, and not solely dependent on material wealth displayed with opulence.


godfrey kneller became the official court painter of england and is considered, along with peter lely and willem wissing, among the masters of english portraiture between the 17th and 18th centuries. He painted every reigning british monarch, from king charles ii to king george i, as well as the most important figures in british society and public life. These portraits, publicly displayed in royal palaces, were admired and so appreciated by the public that a large number of clients, primarily nobles, asked his workshop to create their family portraits.

additional information:

the work is sold complete with a beautiful antique frame and comes with a certificate of authenticity and an iconographic .
this piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



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