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Later Stuart Portraits Catalogue

Charles Sackville, 6th Earl of Dorset (1643-1706), Poet and courtier

1690
Painting by Godfrey Kneller, three-quarter-length seated in a brown mantle, the lord chamberlain’s wand in left hand, right elbow on a pedestal on which lie the Garter jewel and ribbon; signed and dated. Knole (C. J. Phillips, History of the Sackville Family, 1929, II, p 440).

c.1690-95
Painting attributed to Kneller, three-quarter-length seated, wearing cap and silk gown. Knole (probably C. J. Phillips, History of the Sackville Family, 1929, II, p 435 as unknown; illus. Knole, National Trust Guide, 1998, p 72). Exhibited British Portraits, RA, 1956, no.152, and Age of Charles II, RA, 1960, no.359.

1694
Painting by Godfrey Kneller, whole-length in Garter robes, see under NPG 250.

1695
Engraving by R. White, the Lords Justices of England, half-length in coronation robes as one of the collective regency during the King’s absences abroad; with the 1st Duke of Devonshire, 1st Earl of Godolphin, 8th Earl of Pembroke, 1st Duke of Shrewsbury, Baron Somers and Archbishop Tenison.

c.1697
Painting by Godfrey Kneller, see NPG 3204.

c.1700
Unattributed painting, three-quarter-length, standing to right in Garter robes, right hand on table; a distant arch to the right. Sissinghurst Castle. A similar portrait was sketched by Scharf (Sir George Scharf’s Sketch Books, 83:55) in 1869 in the Chesterfield Library, presumably that from the 2nd Earl of Oxford’s sale, 5th day, 12 March 1742, lot 37, bought Chesterfield; subsequently in the Chesterfield sale, Christie’s, 31 May 1918, lot 35 (D. Piper, ‘The Chesterfield House Literary Portraits’, in R. Wellek & A. Ribeiro eds., Essays in Memory of James Marshall Osborn, 1979, p 195, no.21 as untraced).

c.1700?
Painting attributed to Richardson, half-length to right in Garter robes. Bodleian Library (G. Vertue, Notebooks, Wal. Soc., XXVI, 1938, p 17 as by Richardson; Mrs R. L. Poole, Catalogue of Portraits in the possession of the University, Colleges, City and County of Oxford, I, p 76, no.189; Catalogue of Portraits in the Bodleian Library by Mrs R. L. Poole completely revised and expanded by K. Garlick, 2004, p 270), given by the Earl of Oxford 1723. Adapted, reversed, from the 1694 Kneller pattern.

G. Vertue, Notebooks, Wal. Soc., XXIV, 1936, p 166, records at the Halifax sale, 4th day, 10 March 1740, lot 14: ‘the Earl of Dorset. The face only painted at one setting being done by Sr.G.Kneller - and thought to be so like - that this nobleman took it a way with him - as it was - and woud never have any thing more done to it. so as it was the General [Dormer] bought it. but intends to’ [sic].

History
A painted allegory by G. B. Pittoni, Mirandolese and G. B. Cimaroli was one of a series of ‘monuments’ to recent ‘British Worthies, who were bright and shining Ornaments, to their Country’, commissioned by Owen MacSwinny c.1725-29. Destroyed by fire at Hinton Ampner. A second version, in the collection of Max Rothschild 1934, survives in fragments (E. Croft-Murray, Decorative Painting in England, II, The Eighteenth and Nineteenth Centuries, 1970, p 240, no.9).



This extended catalogue entry is from the National Portrait Gallery collection catalogue: John Ingamells, National Portrait Gallery: Later Stuart Portraits 1685-1714, National Portrait Gallery, 2009, and is as published then. For the most up-to-date details on individual Collection works, we recommend reading the information provided in the Search the Collection results on this website in parallel with this text.