Who painted Portrait of the first Earl of Albemarle?

Portrait of the first Earl of Albemarle was painted by Sir Godfrey Kneller in 1697-01-01.

Where can I see Portrait of the first Earl of Albemarle?

Portrait of the first Earl of Albemarle is held by Rijksmuseum.

What movement is Portrait of the first Earl of Albemarle?

Portrait of the first Earl of Albemarle is associated with Dutch Golden Age.

Can I buy a print of Portrait of the first Earl of Albemarle?

Museum-quality prints of Portrait of the first Earl of Albemarle are available made-to-order from Artifact World Gallery.

Artwork

Portrait of the first Earl of Albemarle

Sir Godfrey Kneller , 1699

Portrait of the first Earl of Albemarle is an oil painting by the Dutch Golden Age artist Sir Godfrey Kneller. It dates from 1699 and is held in the collection of the Rijksmuseum. In 1699 Godfrey Kneller executed an oil portrait of Arnold van Keppel, the first Earl of Albemarle.

About this work

Subject & Meaning

His right hand rests on a baton, signaling military command, while his left hand holds a letter or warrant, likely alluding to administrative duties.

The sitter is Arnold van Keppel, 1st Earl of Albemarle, a Dutch soldier who rose to prominence in England as a close associate of William III. Painted in 1697 by Godfrey Kneller, the portrait presents the earl in full-length, three-quarter view, wearing the ceremonial attire of his rank.

Iconographically, the work emphasizes Albemarle’s elevated status through posture and accoutrements. His right hand rests on a baton, signaling military command, while his left hand holds a letter or warrant, likely alluding to administrative duties. The dark, controlled background focuses attention on the figure, reinforcing the dignity and authority befitting his noble office.

Technique & Style

The portrait is painted in oil on canvas, measuring 85 cm in height and 68 cm in width. Kneller’s handling emphasizes the sitter’s aristocratic bearing through smooth, blended modeling of the face and crisp detailing of the lace cravat and embroidered coat. The restrained palette of deep blacks, creamy whites, and subtle browns focuses attention on the Earl’s poised demeanor and the gleam of his gorget, while the dark, unobtrusive background isolates the figure.

The technique combines subtle glazing to convey flesh tones with precise, linear accents in the costume, characteristic of late seventeenth-century English portraiture.

No signs of structural damage are reported, and the painting retains its original canvas support without evidence of significant deformation or paint loss.

History & Provenance

The Portrait of the first Earl of Albemarle was created in 1697, depicting Arnold van Keppel, 1st Earl of Albemarle. While the artwork is primarily attributed to Sir Godfrey Kneller, some records also associate the work with John Smibert. Executed in oil paint on canvas, the piece measures 85 cm in height and 68 cm in width.

Historical ownership records indicate that the painting was once held by Abraham Bredius before entering the collection of the Rijksmuseum.

The portrait is held in the collection of the Rijksmuseum. According to the available records, the painting was once owned by Abraham Bredius before entering the museum's holdings. Wikidata identifies the work's location as the Rijksmuseum, where it is catalogued as a painting by Godfrey Kneller dated 1697, executed in oil on canvas.

No exhibition history is documented in the available sources.

Overview

In 1699 Godfrey Kneller executed an oil portrait of Arnold van Keppel, the first Earl of Albemarle. The work presents the Dutch-born nobleman in formal attire, set against a uniform dark‑green backdrop that concentrates attention on his figure. It is presently held in the collection of the Rijksmuseum in Amsterdam.

Context

The painting belongs to the period when Kneller dominated portraiture in England, bridging the late Stuart and early Georgian eras. Although the work was painted in England, its subject’s Dutch origins and the artist’s German background reflect the transnational nature of aristocratic networks and artistic exchange in the late 17th century.