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Later Stuart Portraits Catalogue

King William III (1650-1702), Reigned 1689-1702

William’s portraiture was surveyed by A. Staring, 'De Portretten van den Koning-Stadhouder', Netherlandsch, Kunsthistorisch. Jaarboek, III, 1951. The following list includes the more important images of the King, but cannot claim to be comprehensive.
Note: Studies of the medals showing William III have been made by N. Chevalier, Histoire de Guillaume III par médailles, 1693, and by H. Farquhar, The British Numismatic Journal, VII, 1911, pp 199-267; VIII, 1912, pp 207-73, and IX, 1913, pp 237-94. See also Medallic Illustrations of The History of Great Britain and Ireland, British Museum, principally between lxvii and cxiv.

As Prince of Orange, in Holland 1650-72
1652
Painting by Willem van Honthorst, in his mother’s arms; Gemeentemuseum, The Hague (6-1918). A version at the Raadhuis, Breda (A. Staring, 'De Portretten van den Koning-Stadhouder', Netherlandsch, Kunsthistorisch. Jaarboek, III, 1951, pl.1).

1653
Painting by Gerrit van Honthorst, in a garden with his aunt, Maria van Nassau. Mauritshuis (64; A. Staring, 'De Portretten van den Koning-Stadhouder', Netherlandsch, Kunsthistorisch. Jaarboek, III, 1951, pl.2).

1654
Painting by Adriaen Hanneman, whole-length standing with Garter ribbon and plumed hat, dated. Rijksmuseum (3889; O. ter Kuile, Adriaen Hanneman, 1976, no.25, pl.8); a version without the orange shrub at Broughton Hall (both illus. Bull. van het Rijksmuseum, 1957, pp 110, 111).

c.1654
Engraving by H. van Aldewerelt, whole-length as a child in coats (F. W. H. Hollstein, Dutch & Flemish Etchings Engravings and Woodcuts 1450-1700, 7; illus. A Virtuous and Noble Education, Scottish NPG, 1971, no.52).

Painting after Gerrit van Honthorst, half-length. Rijksmuseum (A521).

Engraving by H. R. van Dagen, whole-length equestrian, in coats, wearing plumed hat, Garter Ribbon and Badge (F. W. H. Hollstein, Dutch & Flemish Etchings Engravings and Woodcuts 1450-1700, 16).

Painting by Gerrit van Honthorst, whole-length with Garter ribbon, holding bow and arrow. Prince of Prussia (A. Staring, 'De Portretten van den Koning-Stadhouder', Netherlandsch, Kunsthistorisch. Jaarboek, III, 1951, pl.5). A version at Het Loo (illus. William & Mary and Their House, exhibition catalogue, Pierpont Morgan Library, New York, 1979, no.40 as c.1653); another formerly at Schloss Schlobitten was lost in 1945. A reversed version from the Combe Abbey sale, Sotheby’s, 27 November 1968, lot 72.

1655
Painting by Pieter Janssen, whole-length equestrian, with plumed hat, Garter Ribbon and Badge, baton in right hand; engraved by H. R. van Dagen (F. W. H. Hollstein, Dutch & Flemish Etchings Engravings and Woodcuts 1450-1700, 15).

1657
Painting by Cornelius Johnson, see under NPG 272.

c.1658
Unattributed painting, three-quarter-length in coats with Garter ribbon, a baton in his right hand. Royal Collection (O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.305); altered to include a plumed hat on a table.

c.1660
Unattributed painting, three-quarter-length standing, left hand on hip, with Garter ribbon. Christie’s, 16 February 1945, lot 146, from the Marquess of Conyngham estates.

1661
Painting after Abraham Ragueneau, half-length in armour with Garter ribbon, inscribed with date. Mauritshuis (498; A. Staring, 'De Portretten van den Koning-Stadhouder', Netherlandsch, Kunsthistorisch. Jaarboek, III, 1951, pl.7). The original remains unidentified, but there are several versions of the composition: showing his right arm resting on his helmet, Raadhuis, Zwolle (A. Staring, 'De Portretten van den Koning-Stadhouder', Netherlandsch, Kunsthistorisch. Jaarboek, III, 1951, pl.9), and Sotheby’s, 28 February 1990, lot 207; other variants include those sold Sotheby’s, 12 July 1989, lot 18, and, not showing the right arm, in the Frans Hals Museum (327; A. Staring, 'De Portretten van den Koning-Stadhouder', Netherlandsch, Kunsthistorisch. Jaarboek, III, 1951, pl.8).
Ragueneau (see also c.1664 below) was in charge of the young Prince William’s secular instruction from c.1655 and stayed on ‘in the background as tutor to the pages and curator of the Prince’s pictures’. Robert Duval (1649-1732) succeeded him as curator (N. A. Robb, William of Orange 1650-1673, 1962, pp 85, 152, 229n).

1664
Painting attributed to Jan Mijtens, three-quarter-length standing in armour, with Garter ribbon, left hand on hip, baton in right hand, inscribed with date. Christie’s, 3 November 1972, lot 184. A version with falling collar from the collection of the Baron van Pallandt-del Court, illus. A. Staring, 'De Portretten van den Koning-Stadhouder', Netherlandsch, Kunsthistorisch. Jaarboek, III, 1951, pl.12 as artist unknown.
Mijtens acted as young William’s agent on the art market, until Amalia, the Princess Dowager and William’s guardian, complained that William was to receive nothing from Mijtens without her approval, since he had taken the habit of buying without asking her (N. A. Robb, William of Orange 1650-1673, 1962, pp 115-16).

Painting by Adriaen Hanneman, three-quarter-length standing in armour, his helmet to left; right hand on baton, left on sword. Royal Collection (O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.210, pl.98; ter Kuile, Adriaen Hanneman, 1976, no.77a). Exhibited William and Mary, Arts Council, 1950, no.10. A repetition in the Royal Collection (O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.209; ter Kuile, Adriaen Hanneman, 1976, no.77b, pl.77) was made up to a whole-length but by 1982 had been reduced to its original size.
Versions were painted for Charles II (William’s uncle) and Henrietta Maria (his maternal grandmother), commissioned by Princess Amalia who commented that it was ‘hard to keep a child sitting still for as long and as often as is necessary’ (Robb 1963, pp 116, 296nn15, 16).

c.1664
Painting attributed to Abraham Ragueneau, half-length in armour standing to left with Garter ribbon, right hand holding baton, left hand on hip (A. Staring, 'De Portretten van den Koning-Stadhouder', Netherlandsch, Kunsthistorisch. Jaarboek, III, 1951, pl.11 as with A. R. Enckell, Grankulla, Finland). Close to the Hanneman type of 1664. A related youthful half-length in armour was sold Sotheby’s, 13 March 1985, lot 47 as studio of Willem van Honthorst.

Painting attributed to Abraham Ragueneau, the Prince with four small children (A. Staring, 'De Portretten van den Koning-Stadhouder', Netherlandsch, Kunsthistorisch. Jaarboek, III, 1951, pl.6 as from an East German collection).

c.1665
Painting by Willem van Honthorst, whole-length standing, Four Generations of Princes of Orange (with Frederik Hendrik, William II and Mauritz). Rijksmuseum (A855; illus. S. van Raaij & P. Spies, The Royal Progress of William and Mary, Amsterdam, 1988, p 8; Shades of Orange, Rijksmuseum, 2001, p 19).

1667
Painting by Jan de Baen, see NPG 6269.

c.1670
Engraving by Gerard de Lairesse, three-quarter-length in armour, left hand on hip, right on baton, plumed helmet on table to left (illus. A. Roy, Gérard de Lairesse, 1992, p 440, G47).
The plate resembles another three-quarter-length in armour (Guilielimus Henricus D.G. Princeps Auriacus) by P. Schenck published in 1691 (F. W. H. Hollstein, Dutch & Flemish Etchings Engravings and Woodcuts 1450-1700, 954); Schenck made 20 plates of William III (F. W. H. Hollstein, Dutch & Flemish Etchings Engravings and Woodcuts 1450-1700, 952-71, of which 960-62 & 968 are illus.).
It may also be compared with two unattributed portraits that appear to show William as Stadtholder, each three-quarter-length in armour with Garter, incorporating distant battle scenes:
baton in right hand before him, left hand on sword hilt, plumed helmet to left, sold Lawrence, Crewkerne, 1 April 1982, lot 29 as de Baen
baton in right hand before him, left hand resting on helmet centre left, at Middachten Castle. A cruder version at Sutton Place.

As Stadtholder and Admiral-General of the United Provinces 1672-77
c.1671
Painting attributed to Caspar Netscher, small whole-length in half armour with buff coat, his plumed helmet to the right. Royal Collection (C. White, The Dutch Pictures in the Collection of Her Majesty The Queen, 1982, no.122, pl.102; M. E. Wieseman, Caspar Netscher, 2002, C196). Copies in the Stadhuis, Gouda, and sold Christie’s, 22 December 1949, lot 93 (M. E. Wieseman, Caspar Netscher, 2002, C196a and b).

1674
Painting by Caspar Netscher, small whole-length in armour, pointing right with his left hand, his plumed helmet to the left, dated. Schloss Grünewald, Berlin (GK5342; M. E. Wieseman, Caspar Netscher, 2002, no.132; A. Staring, 'De Portretten van den Koning-Stadhouder', Netherlandsch, Kunsthistorisch. Jaarboek, III, 1951, fig.15). Replica at Welbeck (R. W. Goulding, Catalogue of Pictures belonging to … the Duke of Portland …, C. K. Adams ed., 1936, no.179; M. E. Wieseman, Caspar Netscher, 2002, no.132a); a copy of 1769 by Ozias Humphry also at Welbeck (R. W. Goulding, ‘The Welbeck Abbey Miniatures’, Wal. Soc., IV, 1916, p 213, S4). Wieseman (M. E. Wieseman, Caspar Netscher, 2002, nos.132b-j) lists further copies.

1675
Painting by Caspar Netscher, three-quarter-length in Garter robes, his plumed helmet behind him on the left, dated. Het Loo (A5429; M. E. Wieseman, Caspar Netscher, 2002, B25). Engravings J. Verkolje (F. W. H. Hollstein, Dutch & Flemish Etchings Engravings and Woodcuts 1450-1700, 41, illus.) without painter’s name; a free copy, wearing crown, by J. Gole (F. W. H. Hollstein, Dutch & Flemish Etchings Engravings and Woodcuts 1450-1700, 132). Wieseman lists several versions B25a-e, including a small oval at Althorp (A. Staring, 'De Portretten van den Koning-Stadhouder', Netherlandsch, Kunsthistorisch. Jaarboek, III, 1951, pl.18; K. J. Garlick, ‘A Catalogue of Pictures at Althorp’, Wal. Soc., XLV, 1976, no.473; M. E. Wieseman, Caspar Netscher, 2002, B25e).

Painting attributed to Caspar Netscher, small copper oval, whole-length in armour; Welbeck (R. W. Goulding, ‘The Welbeck Abbey Miniatures’, Wal. Soc., IV, 1916, no.102; M. E. Wieseman, Caspar Netscher, 2002, C198 as more probably by Constantijn Netscher). A version in the Dutch Royal Collection (Koninklijk Paleis, Soestdijk, 691; M. E. Wieseman, Caspar Netscher, 2002, C199).

1676
Marble statue by Jan Blommendael, small standing figure in armour, left hand on hip. Mauritshuis (360; illus. William & Mary, Arts Council, 1950, no.93, pl.viii; A. Staring, 'De Portretten van den Koning-Stadhouder', Netherlandsch, Kunsthistorisch. Jaarboek, III, 1951, pl.20).

Painting attributed to J. F. van Douven, small three-quarter-length in armour with Hans Willem Bentinck, dated. Amerongen Castle (illus. A. Staring, 'De Portretten van den Koning-Stadhouder', Netherlandsch, Kunsthistorisch. Jaarboek, III, 1951, pl.17, and Glorieuze Revolutie, 1988, p 42). A modern copy at Welbeck (R. W. Goulding, Catalogue of Pictures belonging to … the Duke of Portland …, C.K. Adams ed., 1936, no.952) as by H. Sneltens after Soubre, after a painting by Isaack Soubre [sic] in the collection of the Baroness van Pallandt-del Court c.1914. The figure of William derives from the Caspar Netscher portrait of 1674.

After his marriage to the Princess Mary on 4 November 1677
1677
Painting by Peter Lely, see NPG 1902.

c.1677
Painting by Caspar Netscher, whole-length in full armour, left hand on hip, baton in right hand, plumed helmet to right. Rijksmuseum (C194; M. E. Wieseman, Caspar Netscher, 2002, no.160; exhibited William and Mary, Arts Council, 1950, no.37). The pendant of Queen Mary is dated 1683. A copy is also in the Rijksmuseum (A183; M. E. Wieseman, Caspar Netscher, 2002, no.160a) with a three-quarter-length version (A3331; M. E. Wieseman, Caspar Netscher, 2002, C195). A whole-length variant at Het Loo, and an example without plumes on the helmet in the Boymans Museum (1591) as by Constantijn Netscher (illus. British Numismatic Jnl., IX, 1913, f.p.278). Further copies are listed in M. E. Wieseman, Caspar Netscher, 2002, nos.160a-g.

c.1680-85
Unattributed painting, standing three-quarter-length in armour, left hand on hip, baton in right hand. Sotheby’s, 23 March 1977, lot 50.

c.1680
Unattributed painting, standing three-quarter-length in armour, knotted sash round waist, right hand on baton, left hand on sword pommel, helmet to left. Christie’s, 10 December 1971, lot 98.

Painting signed by Cornelis de Visscher, three-quarter-length to front, in armour, baton in right hand. Lambeth Palace. A weak portrait.

1683
Marble bust by Rombout Verhulst. Mauritshuis (367).

c.1684
Painting by Willem Wissing, in Garter robes, engraved as bust-length oval J. Smith 1689 (J. Chaloner Smith, British Mezzotinto Portraits, 275, 276).

1685
Painting by Willem Wissing, see NPG 580. Wissing was dispatched by the King to Holland in 1685 to paint the portraits of the Prince and Princess of Orange. On 24 August Constantijn Huyghens confirmed to his brother the arrival of un disciple de Lely nommé Wissing, mais il n’est pas encore arrivé à la perfection de son maistre’. Il a apporté le portrait de la Princesse de Danemarc [see Anne] de sa façon, mais ce n’est pas grand chose. Celuy qu’il a fait de Madame [see Mary II] ressemble assez bien (C. Huyghens, Oeuvres complètes, ix, 1901, p 23).
The prime version of the Wissing type appears to be the signed example at Homburg Castle, Germany (H. Börsch-Supan, ‘Die Gemälde aus dem Vermächtnis der Amalie von Solms und aus der Oranishen Erbschaft in den Brandenburgisch-preussischen Schlössern’, Zeitschrift für Kunstgeschichte, XXX, 1967, p 194, no.87, illus. p 158); there are two signed versions in the Royal Collection (O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.321, pl.137, exhibited William and Mary, Arts Council, 1950, no.47, with a repetition, no.322), another at Penshurst (according to G. Vertue, Notebooks, Wal. Soc., XXIV, 1936, p 79, ‘very well painted’ for Lord Romney in Holland) and a fifth was sold Phillips, 14 December 1993, lot 2. The type was engraved by R. Williams (J. Chaloner Smith, British Mezzotinto Portraits, 41) as Wissing pinxit.
Wissing died in 1687 but his portrait was replicated for many years, presumably by his pupil and assistant Jan Van der Vaart (see Mary II, NPG 197 and All Known Portraits under 1685).
Versions abound, for example those in the Government Art Collection (883/5); at Willey Park; Woburn sale, Christie’s, 19 January 1951, lot 154; Earl Ferrers, sold Sotheby’s, 9 October 1996, lot 36, and Melton Constable, sold Christie’s, 8 June 2000, lot 9. Half-length versions include those at Belton, Audley End, Bisham Abbey, and in the Holburne of Menstrie Museum (illus. Pittura Inglese, Milan, 1975, no.5).
A variant at Lamport, paired with a Mary II, was acquired in 1696.

1686
Ivory plaque. Rijksmuseum, Amsterdam. Exhibited De Stadhouder-Koning, Amsterdam, 1950, no.348.

c.1686-88
Painting by Willem Wissing (d. 1687) and Jan Van der Vaart, whole-length in Roman armour, pointing right, right hand on hip, engraved J. Smith 1688 (J. Chaloner Smith, British Mezzotinto Portraits, 274).

As William III
1689
Painting by William Claret, whole-length in Garter robes, looking half right, right hand against hip, crown, orb and sceptre on a table to the left. County Hall, Northampton, ordered in 1689 (Sir George Scharf’s Trustees’ Sketch Books, 7:52), with a pendant of Queen Mary. Versions were in the sale at Hampton Court, Herefordshire, Knight, Frank & Rutley, 3rd day, 18 March 1925, lot 532, and another in a private collection has the head looking half left. Resembling a Kneller James II pattern (cf. Christie’s South Kensington, 10 June 1999, lot 55). Another three-quarter-length version in coronation robes at Schloss Celle.

1690-94
Painting by J. H. Brandon, three-quarter-length, looking left, seated in Garter robes, left hand on orb. Het Loo (attribution from Rijksmuseum Paleis Het Loo, 1988, p 29). Version sold Sotheby’s, 10 November 1993, lot 29 (with pendant of the Queen). Somewhat resembling the ‘Verkolje’ type, see c.1695 below. Other versions are at the University of Louvain, in an English private collection (with Lawrence, Crewkerne, in 1980) said to be signed Frans van Stampart, and in the Lady Lever Art Gallery, Port Sunlight (LL3160). A half-length oval version, sceptre in right hand, is in an English private collection.
A bust-length engraving by P. A. Gunst after Brandon shows a slightly different head.

1690
Painting by John Ferrour, standing three-quarter-length in Garter robes, right hand on hip; crown, orb and sceptre on table to right. Town Hall, King’s Lynn; acquired 1690, with pendant of Queen Mary.

Painting by Jan Van der Vaart, signed, whole-length in state robes, crown on table to right. Corporation of London; purchased from R. Hayes, ‘citizen and painter’, 1690, with pendant of Queen Mary.

Ivory medallion by Jean Cavalier, dated; Victoria and Albert Museum (A.18-1938; illus. A. Staring, 'De Portretten van den Koning-Stadhouder', Netherlandsch, Kunsthistorisch. Jaarboek, III, 1951, pl.30, and C. Avery, David le Marchand, 1996, p 16).

Painting by Godfrey Kneller, whole-length standing in state robes. Royal Collection (O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.335, pl.149; J. D. Stewart, Godfrey Kneller 1983, no.840). Engraved J. Smith 1695 (J. Chaloner Smith, British Mezzotinto Portraits, 271). The official coronation portrait of the King, the composition closely imitating Van Dyck’s Charles I in the Royal Collection (S. J. Barnes, N. de Poorter, O. Millar & H. Vey, Van Dyck, a Complete Catalogue of the Paintings, 2004, iv.53).
Versions, paired with Kneller’s whole-length portrait of Queen Mary, abound; they include those at Audley End; Cowdray Park; Drayton House; Drumlanrig (from the Council Chamber in Edinburgh, given to the Duke of Queensberry by Queen Anne); Ellesmere sale, Christie’s, 18 October 1946, lots 104, 105; Grimsthorpe Castle; Guildford Guildhall; Hardwick Hall; Hatfield; Kilkenny Castle (J. Fenlon, Kilkenny Castle Catalogue, 2001, nos.48, 49); Littlecote (Sotheby’s, 22 November 1985, lot 856); Narford; formerly at Northwick Park (Christie’s, 25 June 1965, lot 58); Examination Schools, Oxford (Mrs R. L. Poole, Catalogue of Portraits in the possession of the University, Colleges, City and County of Oxford, I, pp 138-39, nos.337, 339); Penshurst; formerly Shrubland Park (Sotheby’s, 5 April 1967, lot 179); Temple Newsam (PA1992.0037.0001-2; illus. The Public Catalogue Foundation, West Yorks., 2004, p 121); Welbeck (R. W. Goulding, Catalogue of Pictures belonging to … the Duke of Portland …, C. K. Adams ed., 1936, nos.459, 460), and in London at the Bank of England; Royal Hospital Chelsea (formerly Bramshill, Sotheby’s, 16 July 1952, lot 58); Inner Temple (acquired in 1694); Crown Estate Commissioners (United Service Club); the Drapers’ Company (presented by John Watson 1719), and the Painter-Stainers’ Company (presented by the artist; Sir George Scharf’s Sketch Books, 70:29).
Portraits of the King alone include those at Blenheim (G. Scharf, Catalogue raisonné; or, A List of the Pictures in Blenheim Palace, 1862, p 81); Bolton Hall; Croome Court (Sir George Scharf’s Sketch Books, 99:37 and 81:3); Guildhall Art Gallery (lent by the Weavers’ Company); Royal Hospital Chelsea (bequeathed by Gen. William Evans 1740); Gorhambury; Kimbolton (probably that painted for the Earl of Manchester and paid for in 1697), and the Rochester Guildhall; and in Holland at Middachten Castle; Het Loo, and formerly at Beverweerd Castle (see O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, p 142).
Reduced versions include the three-quarter-lengths with the Cutlers’ Company (presented by Henry Graves 1868), with the Apothecaries’ Company (paired with the Queen), the National Maritime Museum (BHC3094) and Wadham College, Oxford (Mrs R. L. Poole, Catalogue of Portraits in the possession of the University, Colleges, City and County of Oxford, III, p 220, no.36); a variant in the Government Art Collection (0/90; illus. The Public Catalogue Foundation, Government Art Collection, 2007, p 164). Half-length versions at Lincoln Guildhall; Thoresby Hall; formerly in Matthew Prior’s collection (H. Bunker Wright & H. C. Montgomery, ‘The Art Collection of a Virtuoso in eighteenth-century England’, Art Bulletin, XXVII, 1945, p 200, no.49; G. Vertue, Notebooks, Wal. Soc., XX, 1932 p 19, ‘for which the King sat’), and in the Uffizi (IC247, acquired 1723). Bust-lengths at Ardblair (given by the King to Robert Yate, Mayor of Bristol, in 1694), and the Assembly Rooms, Bath.
Miniature bust-length versions by C. F. Zincke and Jacobus Christian Jacobus (Jacob Chretien) at Welbeck (R. W. Goulding, ‘The Welbeck Abbey Miniatures’, Wal. Soc., IV, 1916, nos.105,373); Bernard Lens III 1733 (Christie’s, 19 February 1980, lot 42), by Nicholas Dixon (Welbeck; R. W. Goulding, Catalogue of Pictures belonging to … the Duke of Portland …, C. K. Adams ed., 1936, nos.688, 689), and attributed to Benjamin Arlaud (permanent loan to the Mauritshuis from the Rijksmuseum, A4296).
Besides those by Thomas Murray for the Merchant Taylors’ Company in 1697 and for the Fishmongers’ Company, London (see under NPG 5496), copies include those in the Royal Collection (O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, nos.366, 364, the latter now Government Art Collection, 9122); by Anthony Highmore 1755 in the York Mansion House, and by J. H. Brandon (three-quarter-length) for the Municipality of ’s Hertogenbosch. An unattributed pair of whole-lengths in state robes, the King crowned, in the Herbert Art Gallery, Coventry (Sir George Scharf’s Sketch Books, 101:57; currently listed as after Kneller, CH19 & 20).

c.1690-95
Unattributed miniature, bust-length oval, in armour with Garter ribbon and George. Dutch Royal Collection (illus. William & Mary and Their House, exhibition catalogue, Pierpont Morgan Library, New York, 1979, no.73, and K. Schaffers-Bodenhausen & M. Tiethoff-Spliethoff, The Portrait Miniatures in the Collections of the House of Orange-Nassau, 1993, no.12), the head based on the Kneller coronation portrait of 1690.

Unattributed painting, whole-length equestrian in armour with attendant bearing a plumed helmet. Grocers’ Company (from the Tollemache sale, Christie’s, 15 May 1953, lot 161). Reduced version at Gosford. The King’s head derives directly from the Kneller coronation type.

c.1690-95?
Painting attributed to Godfrey Kneller, whole-length equestrian in buff coat and plumed hat. Sotheby’s, 8 March 1989, lot 27, from Hertford Town Hall; commissioned by Henry de Nassau, William III’s Master of the Horse.

c.1690
Painting by Jan de Baen, whole-length standing in armour with ermine-trimmed cloak, left hand on hip, right hand holding up baton, plumed helmet to right with crown and sceptre, signed. Stedelijk, Kampen (illus. E. Buijsen, Haagse Schilders in de Gouden Eeuw, 1998, p 84). In the manner of Caspar Netscher, but on a larger scale.

Unattributed marble medallion. Het Loo (illus. William & Mary and Their House, exhibition catalogue, Pierpont Morgan Library, New York, 1979, no.52).

Miniature half-length oval, conjoined with Mary II, copy attributed to Peter Hoadley; Rijksmuseum (A4324); another sold Christie’s South Kensington, 3 March 1994, lot 4.

Engraving by J. de Later, probably after Jan Van der Vart, half-length with a wide-brimmed hat and richly figured coat (F. W. H. Hollstein, Dutch & Flemish Etchings Engravings and Woodcuts 1450-1700, 2; illus. A. Ribeiro, Fashion and Fiction, 2005, p 287). This appears to be a pair with a Van der Vaart portrait of Mary II, engraved J. Smith 1690 (J. Chaloner Smith, British Mezzotinto Portraits, 176; both illus. Ribeiro, op. cit., pp 243, 288; see also de Later, F. W. H. Hollstein, Dutch & Flemish Etchings Engravings and Woodcuts 1450-1700, 3).

c.1690?
Unattributed painting, three-quarter-length seated to right; Ulster Museum, Belfast (U583 as attributed to Kneller).

Unattributed painting, three-quarter-length standing in armour with Garter collar and George, left hand on hip, baton in right hand, attended by a black page. Royal Collection, formerly attributed to Kneller (letter from Katy Barron, 4 April 2003, NPG icon notes).

after 1690
Unattributed painting, standing three-quarter-length in Garter robes, with crown on ledge to left. Phillips, 19 July 1995, lot 230 (from Durwards Hall sale, 2nd day, 11 July 1989, lot 1106).

1691-99
Painting by J. H. Brandon, three-quarter-length standing in armour, pointing to the right, his right hand resting on his plumed helmet. Alkmaar Museum (A. Staring, 'De Portretten van den Koning-Stadhouder', Netherlandsch, Kunsthistorisch. Jaarboek, III, 1951, pl.31). Half-length oval version at Amerongen Castle (illus. William & Mary and Their House, exhibition catalogue, Pierpont Morgan Library, New York, 1979, no.72). Another at the Fraeylemaborg, Slochteren, dated 1691, one of a pair.

1691
Painting by Jan Vollevens, small whole-length standing in ermine with Garter collar and badge, crown and sceptre on cushion on a table to right, dated. With George Schneider, London, in 1935. Using the Lely head (see NPG 1902).

c.1691
Painting by Thomas Murray, see NPG 5496.

Painted and engraved by Jan Verkolje (F. W. H. Hollstein, Dutch & Flemish Etchings Engravings and Woodcuts 1450-1700, 42, illus.) three-quarter-length seated in state robes, his left hand pointing right, right hand on chair arm, crown on table to right. See Mary II NPG 606.

Painting attributed to Jan Verkolje, standing three-quarter-length in armour, left hand on hip, baton in right hand, crown to right, with distant view of a castle. Frans Halsmuseum (283). A version sold Sotheby’s, 13 November 1991, lot 119. Another version, in parade armour and with ermine cloak, sceptre in right hand resting on a carved lion, at Attingham Park (174).

Painting by Jan Verkolje, small three-quarter-length, seated in Garter robes, looking to front, pointing right with his right hand, crown on table to right. De Vries sale, Amsterdam, 16 December 1930, lot 70. Engraved Verkolje. See Mary II NPG 606.

c.1691?
Painting, attributed to Jan Verkolje, three-quarter-length standing in Garter robes, left hand on ledge, right on hip. Bukowski, Stockholm, 7 April 1987.

1692
Painting by Godfried Schalcken, half-length by candlelight. Rijksmuseum (A367; T. Beherman, Godfried Schalcken, 1988, no.84; exhibited William and Mary, Arts Council, 1950, no.42). A replica dated 1692 at Attingham Park (71; A. Staring, 'De Portretten van den Koning-Stadhouder', Netherlandsch, Kunsthistorisch. Jaarboek, III, 1951, pl.28, and Kings and Queens, Liverpool, 1953, souvenir, p 22). Schalcken visited England in 1692 causing a sensation with his portrait of the King by candlelight. Versions with Lord Berwick and in the Darmstadt Museum (T. Beherman, Godfried Schalcken, 1988, nos.84a and b).

before 1694
Pastel by Edward Lutterell, ‘two small crayon heads of King William and Queen Mary ... by Lutterell' (Will of Dr John Ward, d. 1758; PROB 11 841).

1695
Statue by John van Nost the elder, formerly at the Royal Exchange, London; destroyed 1838. A slight sketch of this figure by John Carter is in the Guardian Royal Exchange collection (illus. Topographical Soc. Pubs., 152, 1997, p 178). A terracotta in the Victoria and Albert Museum (A.35-1939; D. Bilbey, British Sculpture 1470-2000, a concise catalogue of the collection at the Victoria and Albert Museum, 2002, no.8, illus.), exhibited William and Mary, Arts Council, 1950, no.97, has been associated with this statue but it does not seem to agree sufficiently with Carter’s sketch (see I. Roscoe in A. Saunders ed., ‘The Royal Exchange’, Topographical Soc. Pubs., 152, 1997, pp 176-78).

c.1695
Unattributed painting, whole-length in armour to left, baton in right hand pointing to a statue, left hand on helmet, crown on table to left. Christie’s, 22 November 1968, lot 151.

Unattributed painting, see NPG 1026.

c.1695?
Miniature by J. Z. Kneller, oval bust-length to right in armour. Victoria and Albert Museum (P37-1923).

c.1695-1700
Painting on plaster by Godfrey Kneller, half-length in Garter robes. Royal Collection (O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.336, pl.165; J. D. Stewart, Godfrey Kneller, 1983, no.842).

Unattributed miniature, three-quarter-length, pointing left with left hand, helmet before him. Sotheby’s, 19 November 1984, lot 466. A copy with W. J. Hemp, North Wales, 1958. The head is from the 1690 Kneller pattern.

1696-99
Enamels by Charles Boit, see NPG 1737.

1697
Painting by J. H. Brandon, see NPG 4153.

1699
Marble bust by Jan Blommendael, Mauritshuis (361).

John Robinson, English Resident at Stockholm, February 1699, proposed that the King ‘would be pleased to let Mr Dahl, the Swedish painter, draw his picture at length and send it to the Countess Oxenstierna’; he later wrote that he hoped Dahl knew that ‘His Majesty will sit to him for his picture I wish to hear it is done’ (W. Nisser, Michael Dahl, 1927, p 25).

Painting by Godfried Schalcken, dated, three-quarter-length seated in armour with ermine lined cloak, baton in right hand, dated. Mauritshuis (158) on loan to the Gemeentemuseum, The Hague (T. Beherman, Godfried Schalcken, 1988, no.86). Using the same face mask as Schalcken’s 1692 portrait.

c.1699
Painting by Godfried Schalcken, three-quarter-length to right, in armour with Garter ribbon and badge and ermine cape, baton in right hand, crown on table behind him. Crown Estate Commissioners (United Service Club), London (T. Beherman, Godfried Schalcken, 1988, no.85).

A similar head appears in Schalcken’s half-length oval in armour with neck cloth, baton held up in right hand. Blenheim (G. Scharf, Catalogue raisonné; or, A List of the Pictures in Blenheim Palace, 1862, p 133). The attribution doubted by T. Beherman, Godfried Schalcken, 1988, no.270.

c.1700
Boxwood figure, possibly Dutch. Victoria and Albert Museum (A.39-1939), ex-Christie’s, 14 December 1939, lot 76 (D. Bilbey, British Sculpture 1470-2000, a concise catalogue of the collection at the Victoria and Albert Museum, 2002, no.224, illus.). A related carved wood and gilt figure, Bewley Court sale, Sotheby’s, 17 May 1993, lot 186.

Miniature attributed to Benjamin Arlaud, three-quarter-length standing in armour, pointing left with right hand. Duke of Buccleuch (illus. S. Lloyd, Portrait Miniatures in the collection of the Duke of Buccleuch, 1996, no.61).

c.1700?
Mezzotint by Bernard Lens II, whole-length, crowned, in state robes, sceptre in right hand, orb in left (J. Chaloner Smith, British Mezzotinto Portraits, 22). A drawing by Bernard Lens III, whole-length in Garter robes, is in the British Museum (1893.0411.10.17).

1701
Equestrian statue by Grinling Gibbons for College Green, Dublin; blown up 1836, repaired by John Smyth but again damaged in 1929 (D. Green, Grinling Gibbons, 1964, pl.191).

Painting by Godfrey Kneller, whole-length equestrian with allegorical figures, celebrating the Peace of Ryswick. Royal Collection (O. Millar, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty The Queen, 1963, no.337, pl.146; J. D. Stewart, Godfrey Kneller, 1983, no.846, pl.53b; see also J. D. Stewart, 'William III and Sir Godfrey Kneller', Journal of the Courtauld and Warburg Institutes, XXXIII, 1970, and J. D. Stewart, Apollo, CXLII, November 1995, pp 25-32). Engraved B. Baron 1746. Slightly reduced version in the National Gallery of Ireland (311; illus. Kings in Conflict, Belfast, 1990, no.289). A reduced sketch in Het Loo (illus. Apollo, CXLII, November 1995, p 30); another from the Walpole collection was formerly in the Gatschina Palace, St Petersburg (J. D. Stewart, Godfrey Kneller, 1983, no.843, pl.53a). A preparatory drawing then belonging to Sir Bruce Ingram illus. William and Mary, Arts Council, 1950, no.59, pl.xii; another in the Detroit Museum of Art (illus. Apollo, CXLII, November 1995, p 25).
Reduced autograph versions at Drumlanrig; sold Christie’s, 22 November 1985, lot 78, and with Dr James Murphy, New York (J. D. Stewart, Godfrey Kneller, 1983, no.845, pl.52).

c.1701
Miniature attributed to Benjamin Arlaud, bust-length in armour. Royal Collection (illus. R. J. B. Walker, The eighteenth and early nineteenth century Miniatures in the Collection of Her Majesty the Queen, 1992, no.134). A similar miniature, signed and dated 1701, sold Christie’s, 5 December 1932, lot 112.

before 1702
Painting by Godfrey Kneller, three-quarter-length standing in armour, left hand on hip, baton in right hand, a red drape round shoulders. Engraved J. Smith 1702 (bust-length oval; J. Chaloner Smith, British Mezzotinto Portraits, 273). Good versions at Dyrham Park and the Bank of England. Other versions, differing in the collar, at Dunham Massey, Scottish NPG (PG 807; illus. Dynasty, Scottish NPG, 1990, p 87), and sold Christie’s, 23 November 1973, lot 71. The pattern uses the same head as Kneller’s coronation portrait and may be regarded as the successor to the Lely and Wissing three-quarter-lengths of 1677 and 1685, see NPG 1902 and NPG 580. A half-length version at Gosford (without cloak and with Garter ribbon). A related, unattributed, bust-length miniature is in the Dutch Royal Collection (illus. William & Mary and Their House, exhibition catalogue, Pierpont Morgan Library, New York, 1979, no.73).
A drawing of the head, ascribed to Kneller, in the Scottish NPG (PG 1471).

Unattributed painting, three-quarter-length, within a painted oval, in state robes. Wokingham Town Hall (Sir George Scharf’s Trustees’ Sketch Books, 37:57).

before 1702?
Wax bust by Anna Braunin, wearing armour with drape. Scottish NPG (PG 1122; illus. Dynasty, Scottish NPG, 1990, p 91). A similar wax by Mrs Goldsmith, probably taken in 1702 (illus. E. J. Pyke, A Biographical Dictionary of Wax Modellers, 1973, p 55, pl.111), is incorporated in the standing effigy first shown in 1725. Westminster Abbey (A. Harvey & R. Mortimer eds., The Funeral Effigies of Westminster Abbey, 2003, pp 109-15).

Posthumous
c.1702-05
Painting ascribed to Godfried Schalcken, whole-length standing in armour, without Garter ribbon, attended by an angel with a wreath of victory while a putto bears his helmet. Sotheby’s, 9 July 1986, lot 27 (withdrawn).

c.1705?
Miniature from the circle of Charles Boit, whole-length seated with Queen, in richly decorated coat. Christie’s South Kensington, 3 March 1994, lot 4.

1712
Painting by John Scougal, whole-length; Glasgow Art Gallery (480), from Glasgow’s Old Town Hall. Scougal worked for Glasgow Town Council in 1708/12 and 1715, painting portraits of kings and queens (see also Anne, James II and Mary II, and J. Holloway, Patrons and Painters, 1989, p 148).

Painting by Charles Jervas, one of a series of British monarchs painted for Horace Walpole. Strawberry Hill sale, 1842, 22nd day, lot 105.

c.1723
Statue by Michiel van der Voort. Lord Cadogan, Caversham Park (M. Baker, Figured in Marble, The Making and Viewing of eighteenth-century Sculpture, 2000, p 140).

c.1726
Laureate stone bust by J. M. Rysbrack. Stowe, Temple of Worthies (illus. Stowe Landscape Gardens, National Trust, 1997, p 28; Apollo, CXLVIII, July 1998, p 33).

before 1729
Gilded lead statues by John Nost the elder, Portsmouth Dockyard and Wrest Park (both illus. J. Physick, Designs for English Sculpture 1680-1860, 1969, pp 22, 23); a related drawing in the Victoria and Albert Museum (9145; illus. J. Physick, Designs for English Sculpture 1680-1860, 1969, p 56, fig.30).

1731-36
Equestrian brass statue by J. M. Rysbrack, Queen’s Square, Bristol (M. Whinney, Sculpture in Britain 1530 to 1830, 1964, pl.68B; see K. Eustace, Michael Rysbrack, exhibition catalogue, Bristol, 1982, pp 23-34). A plaster model in Hull City Art Gallery (K. Eustace, Michael Rysbrack, exhibition catalogue, Bristol, 1982, no.25).

1734
Lead gilt equestrian statue by Peter Scheemakers. Kingston-upon-Hull (illus. M. Whinney, Sculpture in Britain 1530 to 1830, 1964, pl.68A; (K. Eustace, Michael Rysbrack, exhibition catalogue, Bristol, 1982, p 32; I. Roscoe, ‘Peter Scheemakers’, Wal. Soc., LXI, 1999, no.118).

Statue by Henry Cheere. Bank of England, London. In 1735 Cheere was paid by Sir Thomas Lee for a ‘Portland statue’ of King William (R. Gunnis, Dictionary of British Sculptors 1660-1851, 1968, p 97).

c.1736
Marble bust by J. M. Rysbrack; Yale Center for British Art (B1977.14.27; illus. K. Eustace, Michael Rysbrack, exhibition catalogue, Bristol, 1982, p 30).

1737
Painting by James Maubert, in armour with Garter ribbon and badge, red ermine cloak, right hand at waist, left hand on hip. Walter Ullmann, Fort Lauderdale FL, in 1963.

1754
A monumental lead head made by John Smyth, based on ‘a historicising bust by John Nost the younger of 1754’, sold Sotheby’s, 21 April 1988, lot 282.

c.1755
Lead equestrian statue. Petersfield, Hampshire, erected through the will of Sir William Jolliffe (d. 1750; illus. Burlington Magazine, X, 1906, p 102).

after 1760
Bust by Peter Vannini. Christie’s, 3-4 April 1770 (R. Gunnis, Dictionary of British Sculptors 1660-1851, 1968, p 408).

1777
Laureate marble bust by J. F. Nollekens, with classical drapery. Belvoir Castle.

c.1790
A life-sized bust by Charles Harris was being offered from his stock c.1790 (Catalogue of Statues, Bas Reliefs, Bustos, &c. of Charles Harris, statuary, Opposite to the new Church in the Strand, LONDON, n.d.).

1799-1807
Equestrian bronze statue designed by John Bacon the elder, completed by John Bacon the younger. St James’s Square, London.

Undated unattributed sculptures: A small equestrian bronze, perhaps Flemish, in the Royal Collection together with a marble laureate bust with Garter; a small standing bronze in Roman armour, Sotheby’s NY, 11 January 1995, lot 160; a standing lead figure at Hoghton Tower (illus. Burl Mag., IX, 1906, p 99), and a bust at Minley Manor (illus. British Numismatic Jnl., VIII, 1912, f.p.218).

Nineteenth-century statuary includes: bust by Peter Turnerelli, 1812, in the Bank of England, London; statue by Thomas Woolner, 1867, Sessions House, Old Bailey, formerly Palace of Westminster (illus. B. Read, Victorian Sculpture, 1982, p 121); statue by J. B. Philip, 1869, Houses of Parliament (illus. B. Read, Victorian Sculpture, 1982, p 120), and the statue by Heinrich Baucke, c.1907, Kensington Palace Grounds, presented to Edward VII by the Kaiser Wilhelm II.

Histories
The many historical pieces featuring William III include paintings by Jan Wijck: Landing at Brixham 1688 (National Maritime Museum, BHC3095); Landing at Torbay 1688 (formerly at Wimpole) and the Battle of the Boyne 1692 (Blenheim; and from a Dutch private collection, illus. William & Mary, Arts Council, 1950, no.48, pl.x); good versions, in which there are variations in the distant battle scene, include those in the Royal Collection (C. White, The Dutch Pictures in the Collection of Her Majesty The Queen, 1982, no.261, pl.224), at Slane Castle, with the Earl of Roden, and sold Sotheby’s, 1 July 1953, lot 66. Further equestrian scenes by Wijck are The Siege of Namur 1695 (National Gallery of Ireland 145) and dated 1696 (Petworth; cat. 1920, p 138, no.509) and 1697 (Christie’s, 30 October 1942, lot 23). A painting attributed to Jan Wijck c.1692, whole-length equestrian, sword aloft in his right hand, is in the Ulster Museum, Belfast (illus. Kings in Conflict, Belfast, 1990, no.167). Another Battle of the Boyne by Dirk Maes is at Welbeck (R. W. Goulding, Catalogue of Pictures belonging to … the Duke of Portland …, C. K. Adams ed., 1936, no.523).
William III appeared in many other contemporary battle-, sea- and hunting-pieces, of slight iconographic use, as those by Ludolf Backhuysen, Jacobus Storck, Johan van Huchtenburgh, Constantijn Francken, Dirck Maas and William Sadler II.

A ceiling painting by Henry Cooke, William III held aloft by winged figures 1689-97, was formerly with the Metropolitan Water Board, London (E. Croft-Murray, Decorative Painting in England, I, Early Tudor to Sir James Thornhill, 1962, p 246a).

Painting by Jan van Orley, Allegory of the Judgement of Solomon; Government Art Collection (4987).

Murals by James Thornhill, The Landing of William III at Torbay 1708-12, and William III and Mary giving Peace and Liberty to Europe 1718-25, in the Painted Hall at Greenwich. A painted monochrome statue by Thornhill (one of a series of seven monarchs), after 1722, at Grimsthorpe Castle.

A painted allegory by Antonio Balestra, Domenico and Giuseppe Valeriani 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. Duchess of Kent sale, Christie’s, 14 March 1947, lot 21. A second version was on the Berlin art market in 1927 (E. Croft-Murray, Decorative Painting in England, II, The Eighteenth and Nineteenth Centuries, 1970, p 239, no.1; illus. Burlington Magazine, LXIX, 1936, p 244).



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.