Portrait of a Gentleman, William Clayton, 1st Baron Sundon of Ardagh C.1695-1710; Studio of Sir Godfrey Kneller (1646-1723), Oil on Canvas

This sumptuous portrait was painted in the studio of Sir Godfrey Kneller. It depicts a gentleman in an exuberant full bottomed wig and wearing a blue cloak and white neckcloth. The work bears the inscription: 'Wm. Clayton/ Baron Sundon/ of Ardagh/G: Kneller Pinxt.' and is emblazoned with the sitter's coat-of-arms.

The gentleman is William Clayton, 1st Baron Sundon (1671-1752) and he was MP for Woodstock, St Albans, Westminster, Plympton Erle and St Mawes. Baptized on 9 November 1671, he was the eldest surviving son of William Clayton of Newmarket, Suffolk and Ann Haske. He married Charlotte Dyve, the daughter of John Dyve, clerk of the Privy Council, and granddaughter of Sir Lewis Dyve of Bromham, Bedfordshire. It is most probable that the portrait was painted to mark the occasion of his marriage which took place sometime before 1714.

In 1716 out sitter purchased the Manor of Sundon where he lived with his wife Charlotte. They moved in outer Court circles until Charlotte became a favourite of Sarah, Duchess of Marlborough and William was appointed manager of the Marlborough Estates during the Duke's absence from England. In 1735 William Clayton was created lord Sundon. Charlotte rose from Lady in Waiting to lady of the Bed Chamber, becoming a great favourite with the Queen. Hugh Walpole considered that her influence over the Queen had been gained by the Queen "having unluckily told her, or fallen into her power, by some secret." There is some speculation it was of a medical nature. The nieces became Maids of Honour to the Royal children. Unfortunately for the family Queen Caroline died in 1737 and lady Sundon immediately fell from power, dying five years later. Lord Sundon died on 29 April 1752 having lived a long life of 80 years. As he had no children the peerage became extinct. Their bodies were interred in St. Mary's in a vault under the lady Chapel.

The work is in excellent condition and is contained in a fine carved and gilded period frame, most likely the original. This work is a very good and attractive example from the studio of Godrey Kneller.

Kneller, who was German-born and Dutch trained, studied under Ferdinand Bol, and perhaps Rembrandt himself in the 1660s. He was in Rome and Venice between 1672 and 1675, settling in England in 1676 for life. He was soon employed at Court and became the most successful portraitist of the generation following Lely. He enjoyed the office of Principal Painter, at first jointly with John Riley (d.1691), from shortly after the accession of William and Mary in 1688 until his death. He was knighted in 1692 and became a baronet in 1715. His major works include a series of ten reigning European monarchs, including King Louis XIV of France; over 40 “Kit-cat portraits” of members of the Kit-Cat Club; and ten “beauties” of the court of William III. He was also head of the Kneller Academy of Painting and Drawing 1711-1716 in Great Queen Street, London.

Provenance: By direct descent from the Clayton family of Adlington Hall, Lancashire

Measurements: Height 94cm, Width 83cm framed (Height 37”, Width 32.5” framed)

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