On 08 Aug 1646 Godfrey Kneller 1646-1723 was born.
Around 1665 Godfrey Kneller 1646-1723 (18) became a pupil of Ferdinand Bol 1616-1680 (48).
Diary of Samuel Pepys 27 September 1667. 27 Sep 1667. Up, and to the office, where very busy all the morning. While I was busy at the Office, my wife sends for me to come home, and what was it but to see the pretty girl which she is taking to wait upon her: and though she seems not altogether so great a beauty as she had before told me, yet indeed she is mighty pretty; and so pretty, that I find I shall be too much pleased with it, and therefore could be contented as to my judgement, though not to my passion, that she might not come, lest I may be found too much minding her, to the discontent of my wife. She is to come next week. She seems, by her discourse, to be grave beyond her bigness and age, and exceeding well bred as to her deportment, having been a scholar in a school at Bow these seven or eight years.
To the office again, my head running on this pretty girl, and there till noon, when Creed and Sheres come and dined with me; and we had a great deal of pretty discourse of the ceremoniousness of the Spaniards, whose ceremonies are so many and so known, that, Sheres tells me, upon all occasions of joy or sorrow in a Grandee's family, my Lord Embassador is fain to send one with an 'en hora buena', if it be upon a marriage, or birth of a child, or a 'pesa me', if it be upon the death of a child, or so. And these ceremonies are so set, and the words of the compliment, that he hath been sent from my Lord, when he hath done no more than send in word to the Grandee that one was there from the Embassador; and he knowing what was his errand, that hath been enough, and he never spoken with him: nay, several Grandees having been to marry a daughter, have wrote letters to my Lord to give him notice, and out of the greatness of his wisdom to desire his advice, though people he never saw; and then my Lord he answers by commending the greatness of his discretion in making so good an alliance, &c., and so ends. He says that it is so far from dishonour to a man to give private revenge for an affront, that the contrary is a disgrace; they holding that he that receives an affront is not fit to appear in the sight of the world till he hath revenged himself; and therefore, that a gentleman there that receives an affront oftentimes never appears again in the world till he hath, by some private way or other, revenged himself: and that, on this account, several have followed their enemies privately to the Indys, thence to Italy, thence to France and back again, watching for an opportunity to be revenged. He says my Lord was fain to keep a letter from the Duke of York (33) to the Queen of Spain (32) a great while in his hands, before he could think fit to deliver it, till he had learnt whether the Queen (28) would receive it, it being directed to his cozen. He says that many ladies in Spain, after they are found to be with child, do never stir out of their beds or chambers till they are brought to bed: so ceremonious they are in that point also. He tells me of their wooing by serenades at the window, and that their friends do always make the match; but yet that they have opportunities to meet at masse at church, and there they make love: that the Court there hath no dancing, nor visits at night to see the King (37) or Queen (28), but is always just like a cloyster, nobody stirring in it: that my Lord Sandwich (42) wears a beard now, turned up in the Spanish manner. But that which pleases me most indeed is, that the peace which he hath made with Spain is now printed here, and is acknowledged by all the merchants to be the best peace that ever England had with them: and it appears that the King (37) thinks it so, for this is printed before the ratification is gone over; whereas that with France and Holland was not in a good while after, till copys come over of it in English out of Holland and France, that it was a reproach not to have it printed here. This I am mighty glad of; and is the first and only piece of good news, or thing fit to be owned, that this nation hath done several years.
After dinner I to the office, and they gone, anon comes Pelling, and he and I to Gray's Inne Fields, thinking to have heard Mrs. Knight sing at her lodgings, by a friend's means of his1 but we come too late; so must try another time.
So lost our labour, and I by coach home, and there to my chamber, and did a great deal of good business about my Tangier accounts, and so with pleasure discoursing with my wife of our journey shortly to Brampton, and of this little girle, which indeed runs in my head, and pleases me mightily, though I dare not own it, and so to supper and to bed.
1. Mrs. Knight, a celebrated singer and mistress of Charles II. There is in Waller's "Poems" a song sung by her to the Queen (28) on her birthday. In her portrait, engraved by Faber, after Kneller (21), she is represented in mourning, and in a devout posture before a crucifix. Evelyn (46) refers to her singing as incomparable, and adds that she had "the greatest reach of any English woman; she had been lately roaming in Italy, and was much improv'd in that quality" ("Diary", December 2nd, 1674).
Around 1671 Godfrey Kneller 1646-1723 (24). Portrait of Hortense Mancini Duchess of Mazarin 1646-1699 (24).
Around 1676 Godfrey Kneller 1646-1723 (29). Portrait of Mary Scrope 1634-1721 (42). One of the Hampton Court Beauties.
Around 1680 Godfrey Kneller 1646-1723 (33). Portrait of Elizabeth Tulse 1661-1718 (19).
In 1682 Godfrey Kneller 1646-1723 (35) lived at 16 17 Great Piazza Covent Garden.
Around 1682 Godfrey Kneller 1646-1723 (35). Portrait of Pyotr Potemkin Ambassdor 1617-1700 (65).
Around 1685 Godfrey Kneller 1646-1723 (38). Portrait of Justinian Isham 4th Baronet 1658-1730 (26).
Around 1685 Godfrey Kneller 1646-1723 (38). Portrait of George "Hanging Judge" Jeffreys 1st Baron Jeffreys 1645-1689 (39).
John Evelyn's Diary 08 October 1685. 08 Oct 1685. I had my picture drawn this week by the famous Kneller (39).
Around 1686 Godfrey Kneller 1646-1723 (39). Portrait of Frances Whitmore Lady Myddelton 1666-1695 (19). One of the Hampton Court Beauties.
In 1689 Godfrey Kneller 1646-1723 (42). Portrait of John Evelyn 1620-1706 (68).
In 1689 Godfrey Kneller 1646-1723 (42). Portrait of Samuel Pepys Diarist 1633-1703 (55).
In 1689 Godfrey Kneller 1646-1723 (42). Portrait of William Hewer 1642-1715 (47).
In 1689 Godfrey Kneller 1646-1723 (42). Portrait of Thomas Gale Scholar 1635-1702 (54).
In 1689 John Riley Painter 1646-1691 (43) was appointed Principal Painter In Ordinary jointly with Godfrey Kneller 1646-1723 (42).
John Evelyn's Diary 08 July 1689. 08 Jul 1689. I sat for my picture to Mr. Kneller (42), for Mr. Pepys (56), late Secretary to the Admiralty, holding my "Sylva" in my right hand. It was on his long and earnest request, and is placed in his library. Kneller (42) never painted in a more masterly manner.
Around 1690 Godfrey Kneller 1646-1723 (43). Portrait of Charles Beauclerk 1st Duke St Albans 1670-1726 (19).
Around 1691 Godfrey Kneller 1646-1723 (44). Portrait of Frances Whitmore Lady Myddelton 1666-1695 (24).
Around 1693. Godfrey Kneller 1646-1723 (46). Portrait of John Dryden 1631-1700 (61).
In 1694 Godfrey Kneller 1646-1723 (47). Portrait of Hortense Mancini Duchess of Mazarin 1646-1699 (47).
Between 1694 and 1695 Charles Jervas Painter 1675-1739 (20) worked as an assistant to Godfrey Kneller 1646-1723 (47).
Before 1695 Godfrey Kneller 1646-1723 (48). Portrait of Richard Maitland 4th Earl Lauderdale 1653-1695 (41).
Around 1697. Godfrey Kneller 1646-1723 (50). Portrait of John Dryden 1631-1700 (65).
Before 1699 Godfrey Kneller 1646-1723 (52). Portrait of Henry Somerset 1st Duke Beaufort 1629-1700 (69).
Around 1700 Godfrey Kneller 1646-1723 (53). Portrait of Isabella Bennet Duchess Grafton 1655-1723 (44). One of the Hampton Court Beauties.
Around 1700 Godfrey Kneller 1646-1723 (53). Portrait of Diana Vere Duchess St Albans 1679-1742 (21). One of the Hampton Court Beauties.
Around 1700 Godfrey Kneller 1646-1723 (53). Portrait of Mary Compton Countess Dorset 1669-1691 (31). One of the Hampton Court Beauties.
Around 1700 Godfrey Kneller 1646-1723 (53). Portrait of Mary Bentinck Countess Essex 1679-1726 (20). One of the Hampton Court Beauties.
Around 1700 Godfrey Kneller 1646-1723 (53). Portrait of Carey Fraser Countess Peterborough Countess Monmouth 1660-1709 (40). One of the Hampton Court Beauties.
Around 1700 Godfrey Kneller 1646-1723 (53). Portrait of Margaret Cecil Countess Ranelagh 1672-1728 (28). One of the Hampton Court Beauties.
Around 1700 Godfrey Kneller 1646-1723 (53). Portrait of Henry de Nassau Lord Overkirk 1640-1708 (60).
In 1702 Godfrey Kneller 1646-1723 (55). Portrait of Frances Leigh 1670-1728 (32).
Around 1707. Godfrey Kneller 1646-1723 (60). Portrait of John Vanbrugh Playwright 1664-1726 (42).
1709. Godfrey Kneller 1646-1723 (62). Portrait of William Congreve Playwright 1670-1729 (38).
Around 1710 Godfrey Kneller 1646-1723 (63). Portrait of Admiral John Leake 1656-1720 (53).
In 1710. John James Baker Painter -1725. Known as "Whig Junto". From www.tate.org ... This is a portrait of a political group named the Whig Junto and a Black servant, whose identity is unknown. It is the only known portrait of the Junto, which was an ideologically close-knit group of political peers who formed the leadership of the Whig party in the late seventeenth and early eighteenth centuries. The members of the group are shown gathered together on a grand terrace, while a vista onto a garden is revealed by the Black servant, who holds back a heavy velvet curtain. The grand architectural setting is imagined, and is deliberately evocative of power and status. The picture was commissioned by Edward Russell, 1st Earl of Orford (57), who stands on the right, as if welcoming the company. It is not known if Orford (57) had a Black servant in his household or whether the individual was included to emphasise Orford's (57) wealth and social standing. At the time, Britain was profiting heavily from the trade of enslaved people from West Africa. The presence of Black servants, many of whom were enslaved, in both aristocratic and merchant households had come to symbolise property and wealth. This reflected the dehumanising view of enslaved Black people held by the British elite.
The scene conjures one of the Junto's country house meetings where, in between parliamentary sessions, policy and party strategy were formulated. From left to right the sitters round the table can be identified as Charles Spencer, 3rd Earl of Sunderland (34); Thomas Wharton, 1st Marquess of Wharton (61); John Somers, 1st Baron Somers (1C 1697) (58); Charles Montagu, 1st Earl of Halifax (48); and William Cavendish, 2nd Duke of Devonshire (38). The lavish surroundings probably represent Orford's (57) house, Chippenham, where Junto meetings sometimes took place. It was also ideally located for the nearby Newmarket horse races, which the members of the Junto frequently attended when parliament was not sitting.
The portrait is dated 1710, before the crushing electoral defeat of the Whigs in October of that year. It shows the political allies while in power, when Sunderland (34) was Secretary of State, Wharton (61) Lord Lieutenant of Ireland, Somers Lord President of the Privy Council, Devonshire (38) Lord Steward and a member of the Privy Council, and Orford (57) First Lord of the Admiralty. On the surface the portrait shows a relaxed gathering of fellow connoisseurs, seated round a table consulting antique medals and books of prints. Fittingly, Somers and Halifax (48) sit at the centre of the company, holding a book and handling a medal respectively. Both were known collectors and antiquarians – Somers was one of the founders of the Whig Kit-Cat Club, a convivial drinking and dining club, but which also had a political propagandist agenda; he had also purchased the Resta collection of drawings from Italy in 1709. Halifax (48) had a celebrated library and a collection of antique medals (sold in 1740), to which those being consulted presumably allude. Behind this exterior of cultural appreciation, however, the portrait advertises Whig policy in 1709–10, which supported the continuation of war against France in opposition to Tory calls for peace. The two visible prints are friezes from Trajan's column showing episodes from the Dacian wars, with the Roman army crossing the Danube. The viewer is invited to make parallels between the valour and victories of the Roman emperors and the current military greatness achieved for Britain by the Duke of Marlborough's campaigns. The globe, showing the Pacific, presumably alludes to Whig foreign policy ambitions beyond Europe. By defeating France in Europe, they aimed to gain commercial access to Spanish American trade routes. It reflects the competitive European colonial pursuit of new markets, including the selling of enslaved West African people to Spanish territories overseas.
John James Baker (or Backer, or Bakker) is thought to have been Flemish, from Antwerp. He was Godfrey Kneller's (63) (1646–1723) long-time studio assistant and drapery painter, and this is his largest, most ambitious and complex work. The symbolic programme was presumably devised by Orford in discussion with Baker. The Duke of Devonshire was not a regular member of the Junto, although an increasingly important Whig peer, but his inclusion here is presumably because of his kinship relationship with Orford. The picture is thus a demonstration of Orford's private as well as professional networks, and also his pride and ambition. It would have been displayed at Chippenham in the newly appointed, fashionable interiors, alongside other works that Orford commissioned to advertise his public achievement and the private and professional networks that sustained his power and influence.
In 1711 Godfrey Kneller 1646-1723 (64). Portrait of Robert Harley 1st Earl Oxford and Earl Mortimer 1661-1724 (49).
In 1711 Godfrey Kneller 1646-1723 (64). Portrait of Christopher Wren 1632-1723 (87).
In 1715 Godfrey Kneller 1646-1723 (68). Portrait of John Rushout 4th Baronet 1685-1775 (29).
In 1715 Godfrey Kneller 1646-1723 (68). Portrait of James Butler 1st Duke Ormonde 1610-1688.
In 1715 Godfrey Kneller 1646-1723 (68). Portrait of Thomas Wharton 1st Marquess Wharton 1648-1715 (66).
Before 1718 Godfrey Kneller 1646-1723 (71). Portrait of Charlotte Fitzroy Countess Lichfield 1664-1718 (53).
Around 1720 Godfrey Kneller 1646-1723 (73). Portrait of Samuel Sandys 1st Baron Sandys 1695-1770 (24).
Around 1720 Godfrey Kneller 1646-1723 (73). Portrait of Bishop Jonathan Trelawny 3rd Baronet 1650-1721 (69).
Before 1723 Godfrey Kneller 1646-1723 (76). Portrait of Margaret Cocks Countess Hardwicke -1761.
Before 1723 Godfrey Kneller 1646-1723 (76). Portrait of Edward Harley 2nd Earl Oxford and Earl Mortimer 1689-1741 (33).
Before 1723 Godfrey Kneller 1646-1723 (76). Portrait of John Somers 1st Baron Somers 1651-1716 (71).
Before 1723 Godfrey Kneller 1646-1723 (76). Portrait of Louise Kéroualle 1st Duchess Portsmouth 1649-1734 (73).
Before 1723 Godfrey Kneller 1646-1723 (76). Portrait of Peter King 1st Baron King 1669-1734 (53).
On 19 Oct 1723 Godfrey Kneller 1646-1723 (77) died.
1804. School of Godfrey Kneller 1646-1723. Portrait of Mary Clavering Countess Cowper 1685-1724.