Artwork
William Knollis, Earl of Banbury, When Viscount Wallingford
William Knollis, Earl of Banbury, When Viscount Wallingford is an ink print by the Renaissance artist Simon van de Passe. It dates from 1621 and is held in the collection of the National Gallery of Art.
- Inscription
- Inscribed:on verso upper center upside down in ink: Nov[Enwht?]1818x362x
About this work
Overview
Knollys is attired in heavy, textured garments featuring a prominent fur collar and a chain of office draped across his chest, signifying his high status.
Created in 1621 by the Dutch engraver Simon van de Passe, this portrait depicts William Knollys, later the 1st Earl of Banbury, during his tenure as Viscount Wallingford. The work presents a half-length view of the sitter seated in a chair, characterized by his advanced age, long white beard, and a wide-brimmed hat. Knollys is attired in heavy, textured garments featuring a prominent fur collar and a chain of office draped across his chest, signifying his high status.
His hands rest upon a piece of paper, suggesting engagement with state or legal matters, while a small table stands adjacent to him. Executed as a black-and-white engraving, the piece relies on precise line work to render the intricate details of the fabric and the sitter's dignified expression. Produced during the early 17th century, this print reflects van de Passe's role in disseminating images of the English nobility across Europe.
The work serves as a formal record of Knollys's appearance and rank prior to his elevation to the earldom, capturing the somber and authoritative aesthetic typical of portraiture from this period.
Subject & Meaning
The portrait conveys Knollis’s authority through symbolic elements: the chain across his chest denotes rank, and the paper in his hands suggests legal or administrative responsibility. The surrounding inscriptions, titles such as “Baron of Grayes” and honorific abbreviations, reinforce his lineage and the multiple offices he occupied, presenting a visual résumé of his aristocratic identity.
Technique & Style
Executed as an engraving, the image was incised onto a copper plate, allowing van de Passe to achieve fine line work and precise shading. The technique yields a crisp delineation of textures, from the fur collar’s softness to the intricate patterns of the clothing. The composition reflects the early‑17th‑century Dutch portrait tradition, favoring formal pose and meticulous detail over expressive spontaneity.
History & Provenance
Created in 1621, the print was likely produced for distribution among the English nobility or as a commemorative portrait. Simon van de Passe, a prominent engraver of the period, worked extensively for patrons across Europe, and this work exemplifies his engagement with English aristocratic commissions. Surviving copies have appeared in collections of early modern prints, documenting the cross‑channel artistic exchange of the era.
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