Period Portraits has dated this piece to the 18th Century.
The identification of this portrait is confirmed by the use of an identical head that appears in a 1709 portrait of Congreve by the Studio of Godfrey Kneller (NG 67) in the collection of the National Portrait Gallery (NPG), London.
His appearance here relates to a white chalk and charcoal head study by Kneller that survives in the Courtauld Collection, which may well have been used to produce this painting.
As one of Britain’s most fashionable painters, demand for Kneller’s brush often exceeded his output. To remedy this, the artist employed a vast number of studio assistants to complete copies and variations on the master’s own paintings. Bearing in mind the quality of the handling, it is conceivable that the portrait on offer was a repetition completed by a studio assistant working in Kneller’s studio. Making use of a head study, perhaps the aforementioned Courtauld sheet, the artist working on this picture changed the position of the sitter’s body and placed it within a shady grove.
Kneller included a likeness of Congreve in his famous Kit-Cat series, which also survives at the NPG (NG 3199). This surviving work, in a grand format with exuberant brushwork, is an example of Kneller working at the height of his career. The entire series, which features members of this notorious literary and political club, have come to epitomise British portraiture in the opening decades of the eighteenth century. One imagines that the following studio piece may have been painted for one of the playwright’s followers or friends. Congreve is also recorded to have collected works by Kneller, and is recorded having paid £15 for a portrait of ‘Saint Cecilia’ in June 1703.
William Congreve ( 1670-1729)
Congreve’s five plays for the theatres of London explored the genres of satire and comedy to great effect. Despite their few in number, they quickly became some of the most popularly acclaimed pieces of dramatic arts in Restoration London. The predominance of Congreve’s female characters has been noted by scholars of the period. It was the actress Annie Bracegirdle who was to Congreve what Gertrude Lawrence was to Noel Coward. Bracegirdle was written into all of his leading female roles. Equally, the writer also attracted aristocratic patronage. He formed a close acquaintance with Henrietta, Lady Godolphin and later 2nd Duchess of Marlborough. Henrietta bore Congreve a daughter Mary, and was the main beneficiary in his will which included all of his jewels.
Congreve died 19 January 1729 after sustaining internal injuries after his coach accidentally overturned the previous September. His body was interred in Westminster Abbey and attended by several members of the nobility. His memorial was carved after a portrait by Kneller and contains an epitaph written by the Duchess of Marlborough.
This fine portrait is in an excellent state of conservation and is ready to hang and enjoy in an early 19th century English gilded ‘Kneller’ style frame with large gadroons around the outside edge.
Final carousel image: White and black chalk study of William Congreve, Sir Godfrey Kneller. Courtauld Collection, London.
Higher resolution images on request.
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Canvas: 31”x 37” / 79cm x 94cm.
Frame: 42" x 48" / 107cm x 123cm.
Period Portraits has dated this piece to the 18th Century.
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Oil on Canvas Portrait of William Congreve C.1709 - Studio of Sir Godfrey Kneller