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Portrait Of Thomas Smith Esquire C.1705; Sir Godfrey Kneller Bt. (1646-1723), Excellent Quality

Object description :

"Portrait Of Thomas Smith Esquire C.1705; Sir Godfrey Kneller Bt. (1646-1723), Excellent Quality"

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.

The present portrait is a striking and sumptuous example from not only the best artist of the period, but at a time when the artist 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, London
Private Collection, London

Exhibited:
Colnaghi, New York, The British Face: A view of portraiture 1625 – 1850, 1 May – 7 June 1986, New York, n. 5

Literature:
J. D. Stewart, Sir Godfrey Kneller and the English Baroque Portrait, Oxford University Press, 1983 pg. 137, n. 796

Measurements:
Height 146cm, Width 123cm framed (Height 57.5”, Width 48.5” framed