Later Stuart Portraits Catalogue
Arnold Joost van Keppel, 1st Earl of Albemarle (1669-1718), General
- Gallery portraits
- All known portraits
- Biography and References
c.1688-90
Painting by Godfrey Kneller, three-quarter-length in armour, short fair hair, baton in left hand, a plumed helmet behind him, a distant battle on the left. Earl of Albemarle, formerly at Quidenham (Prince Frederick Duleep Singh, Portraits in Norfolk Houses, II, p 150, no.17 as possibly by Kneller c.1700; J. D. Stewart, Godfrey Kneller, 1983, no.30). Exhibited William and Mary, Victoria and Albert Museum, 1950, no.20, lent Albemarle. Versions formerly at Lexham (Prince Frederick Duleep Singh, Portraits in Norfolk Houses, I, p 407, no.20; sold Christie’s, 19 June 1911, lot 17); sold New York, American Art Association, 29 March 1934, lot 41, and Christie’s, 15 March 1979, lot 122. Half-length oval copy by Hendrik Carrée I dated 1697 in the Rijksmuseum (A1493).
Painting by Godfrey Kneller, three-quarter-length, own short fair hair, left hand in shirt, right on hip, a suit of armour stands to the right with a plumed helmet; inscribed upper left. Lady Thomas in 1988 (J. D. Stewart, Godfrey Kneller, 1983, no.27 as ‘probably painted c.1688 soon after Keppel had come to England …’). Exhibited Orange and the Rose 1964, no.32 lent Sir Godfrey Thomas.
c.1697
Painting by Godfrey Kneller, see NPG 1625.
1700
Painting by Godfrey Kneller, three-quarter-length with wig, in armour wearing Garter ribbon, baton in right hand, his helmet lying behind him to the left, signed and dated. Formerly at Quidenham (Prince Frederick Duleep Singh, Portraits in Norfolk Houses, II, p 149, no.15); engraved J. Smith (J. Chaloner Smith, British Mezzotinto Portraits, 2) (J. D. Stewart, Godfrey Kneller, 1983, no.28). Versions at Woburn (G. Scharf, Catalogue of the Collection of Pictures at Woburn Abbey, 1890, no.200), Panshanger and Mount Stewart, Co. Down, exhibited Pictures from Ulster Houses, 1961, no.53, and Kings in Conflict, Belfast, 1990, no.299. A half-length version was formerly at Quidenham.
1701
Painting by Godfrey Kneller, whole-length to left in wig, wearing Garter robes, hat in right hand, signed and dated. Formerly at Quidenham (Prince Frederick Duleep Singh, Portraits in Norfolk Houses, II, p 149, no.16; J. D. Stewart, Godfrey Kneller, 1983, no.31). A half-length version was also at Quidenham (Prince Frederick Duleep Singh, Portraits in Norfolk Houses, II, p 149, no.14).
1702
Engraving by P. Schenck 1702 (F. W. H. Hollstein, Dutch & Flemish Etchings Engravings and Woodcuts 1450-1700, 705), half-length oval in armour, left hand on hip.
1703
Engraving by P. Schenck (F. W. H. Hollstein, Dutch & Flemish Etchings Engravings and Woodcuts 1450-1700, 704), half-length with wig, wearing velvet coat with Garter star, worn over the Garter ribbon.
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.
Painting by Godfrey Kneller, three-quarter-length in armour, short fair hair, baton in left hand, a plumed helmet behind him, a distant battle on the left. Earl of Albemarle, formerly at Quidenham (Prince Frederick Duleep Singh, Portraits in Norfolk Houses, II, p 150, no.17 as possibly by Kneller c.1700; J. D. Stewart, Godfrey Kneller, 1983, no.30). Exhibited William and Mary, Victoria and Albert Museum, 1950, no.20, lent Albemarle. Versions formerly at Lexham (Prince Frederick Duleep Singh, Portraits in Norfolk Houses, I, p 407, no.20; sold Christie’s, 19 June 1911, lot 17); sold New York, American Art Association, 29 March 1934, lot 41, and Christie’s, 15 March 1979, lot 122. Half-length oval copy by Hendrik Carrée I dated 1697 in the Rijksmuseum (A1493).
Painting by Godfrey Kneller, three-quarter-length, own short fair hair, left hand in shirt, right on hip, a suit of armour stands to the right with a plumed helmet; inscribed upper left. Lady Thomas in 1988 (J. D. Stewart, Godfrey Kneller, 1983, no.27 as ‘probably painted c.1688 soon after Keppel had come to England …’). Exhibited Orange and the Rose 1964, no.32 lent Sir Godfrey Thomas.
c.1697
Painting by Godfrey Kneller, see NPG 1625.
1700
Painting by Godfrey Kneller, three-quarter-length with wig, in armour wearing Garter ribbon, baton in right hand, his helmet lying behind him to the left, signed and dated. Formerly at Quidenham (Prince Frederick Duleep Singh, Portraits in Norfolk Houses, II, p 149, no.15); engraved J. Smith (J. Chaloner Smith, British Mezzotinto Portraits, 2) (J. D. Stewart, Godfrey Kneller, 1983, no.28). Versions at Woburn (G. Scharf, Catalogue of the Collection of Pictures at Woburn Abbey, 1890, no.200), Panshanger and Mount Stewart, Co. Down, exhibited Pictures from Ulster Houses, 1961, no.53, and Kings in Conflict, Belfast, 1990, no.299. A half-length version was formerly at Quidenham.
1701
Painting by Godfrey Kneller, whole-length to left in wig, wearing Garter robes, hat in right hand, signed and dated. Formerly at Quidenham (Prince Frederick Duleep Singh, Portraits in Norfolk Houses, II, p 149, no.16; J. D. Stewart, Godfrey Kneller, 1983, no.31). A half-length version was also at Quidenham (Prince Frederick Duleep Singh, Portraits in Norfolk Houses, II, p 149, no.14).
1702
Engraving by P. Schenck 1702 (F. W. H. Hollstein, Dutch & Flemish Etchings Engravings and Woodcuts 1450-1700, 705), half-length oval in armour, left hand on hip.
1703
Engraving by P. Schenck (F. W. H. Hollstein, Dutch & Flemish Etchings Engravings and Woodcuts 1450-1700, 704), half-length with wig, wearing velvet coat with Garter star, worn over the Garter ribbon.
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.