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ID #SA1228788
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£9,200
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Sir Godfrey Kneller (1646-1723) - Portrait of Algernon Capel 2nd Earl of Essex (1670-1710)
Period Portraits
for sale €10,764     $11,684
£9,200
Period Portraits

Period Portraits

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Sir Godfrey Kneller (1646-1723) - Portrait of Algernon Capel 2nd Earl of Essex (1670-1710)

17th century
For Sale by Period Portraits
Description

Fine quality 17th century English portrait of Algernon Capel, 2nd Earl of Essex (1670-1710) from the studio of Sir Godfrey Kneller (1646 - 1723). The handsome sitter is depicted half length in armour with a white stock and full wig.

A soldier and courtier that succeeded his father as second Earl of Essex in 1683 at the age of thirteen. Algernon Capel was closely involved with both King William III and Queen Anne, as part of the Whig-supported Protestant Succession.

Contemporary comments state that Capel ‘is a good companion; loves the interest of his country; hath no genius for business, nor will ever apply himself that way; is a well bred gentleman; brown complexioned and well shaped, but his mouth is always open’. He also had the reputation of being ‘the lewdest young man of the town’.

In 1692, Capel married Mary, daughter of Hans Willem Bentinck (King William’s favourite and later first Earl of Portland), having been appointed Gentleman of the Bedchamber immediately on William’s accession in 1688.

Capel also sat in the House of Lords, and was Lord-Lieutenant first of Dorset then of Hertfordshire from 1692 until his death, a post which made him responsible for local militia. He distinguished himself at the Battle of Landen in 1693. Under Queen Anne, who succeeded in 1702, he was promoted to Major General, and in 1707 he became Lieutenant General of the Queen’s forces. He was also Lord Lieutenant of Hertfordshire.

Capel also acted as Constable of the Tower of London, although both his father and grandfather had been imprisoned there his father was imprisoned in the Tower in 1683 on suspicion of involvement in the Rye House Plot, an attempt to kill Charles II and his brother James and

Before he could be tried he was found in his cell 'dead and wallowing in blood', having presumably cut his own throat. The second earl died suddenly in the Earl of Portland’s lodgings at Whitehall, London and was buried at Watford on 19th January 1710.

Algernon lives on in this beguiling portrait which not only makes strong allusions to the sitters military prowess through his costume, it also reveals his ebullient nature thanks to the artists acute observation of his character

This fine work is in an excellent state of conservation and is presented ready to hang and enjoy in its original carved and gilded 17th century ‘Lely’ style frame.

Higher resolution images on request.

Worldwide shipping available.

Canvas: 86cm x 67cm.

Framed: 105cm x 85 cm.

Physical Dimensions
Height
105cm (41.34")
Width
85cm (33.46")
Depth
4cm (1.57")
Declaration

Period Portraits has dated this Baroque Oil Portrait Painting to the 17th Century.

Reference Numbers
Sellingantiques Reference
SA1228788
Description
Fine quality 17th century English portrait of Algernon Capel, 2nd Earl of Essex (1670-1710) from the studio of Sir Godfrey Kneller (1646 - 1723). The handsome sitter is depicted half length in armour with a white stock and full wig.
“
A soldier and courtier that succeeded his father as second Earl of Essex in 1683 at the age of thirteen.
Period Portraits

Algernon Capel was closely involved with both King William III and Queen Anne, as part of the Whig-supported Protestant Succession.

fig 1. An oval late 17th-century oil portrait of a long-haired nobleman in dark plate armour with a white cravat, set within a carved gilt frame.
fig 1. Sir Godfrey Kneller (1646-1723) - Portrait of Algernon Capel 2nd Earl of Essex (1670-1710)

Contemporary comments state that Capel ‘is a good companion; loves the interest of his country; hath no genius for business, nor will ever apply himself that way; is a well bred gentleman; brown complexioned and well shaped, but his mouth is always open’. He also had the reputation of being ‘the lewdest young man of the town’.

fig 2. An oval late 17th-century oil portrait of a long-haired nobleman in dark plate armour with a white cravat, set within a carved gilt frame.
fig 2. Sir Godfrey Kneller (1646-1723) - Portrait of Algernon Capel 2nd Earl of Essex (1670-1710)

In 1692, Capel married Mary, daughter of Hans Willem Bentinck (King William’s favourite and later first Earl of Portland), having been appointed Gentleman of the Bedchamber immediately on William’s accession in 1688.

fig 3. An oval late 17th-century oil portrait of a long-haired nobleman in dark plate armour with a white cravat, set within a carved gilt frame.
fig 3. Sir Godfrey Kneller (1646-1723) - Portrait of Algernon Capel 2nd Earl of Essex (1670-1710)

Capel also sat in the House of Lords, and was Lord-Lieutenant first of Dorset then of Hertfordshire from 1692 until his death, a post which made him responsible for local militia. He distinguished himself at the Battle of Landen in 1693. Under Queen Anne, who succeeded in 1702, he was promoted to Major General, and in 1707 he became Lieutenant General of the Queen’s forces. He was also Lord Lieutenant of Hertfordshire.

fig 4. An oval late 17th-century oil portrait of a long-haired nobleman in dark plate armour with a white cravat, set within a carved gilt frame.
fig 4. Sir Godfrey Kneller (1646-1723) - Portrait of Algernon Capel 2nd Earl of Essex (1670-1710)

Capel also acted as Constable of the Tower of London, although both his father and grandfather had been imprisoned there his father was imprisoned in the Tower in 1683 on suspicion of involvement in the Rye House Plot, an attempt to kill Charles II and his brother James and

fig 5. An oval late 17th-century oil portrait of a long-haired nobleman in dark plate armour with a white cravat, set within a carved gilt frame.
fig 5. Sir Godfrey Kneller (1646-1723) - Portrait of Algernon Capel 2nd Earl of Essex (1670-1710)

Before he could be tried he was found in his cell 'dead and wallowing in blood', having presumably cut his own throat. The second earl died suddenly in the Earl of Portland’s lodgings at Whitehall, London and was buried at Watford on 19th January 1710.

fig 6. An oval late 17th-century oil portrait of a long-haired nobleman in dark plate armour with a white cravat, set within a carved gilt frame.
fig 6. Sir Godfrey Kneller (1646-1723) - Portrait of Algernon Capel 2nd Earl of Essex (1670-1710)

Algernon lives on in this beguiling portrait which not only makes strong allusions to the sitters military prowess through his costume, it also reveals his ebullient nature thanks to the artists acute observation of his character

fig 7. An oval late 17th-century oil portrait of a long-haired nobleman in dark plate armour with a white cravat, set within a carved gilt frame.
fig 7. Sir Godfrey Kneller (1646-1723) - Portrait of Algernon Capel 2nd Earl of Essex (1670-1710)

This fine work is in an excellent state of conservation and is presented ready to hang and enjoy in its original carved and gilded 17th century ‘Lely’ style frame.

Higher resolution images on request.

Worldwide shipping available.

Canvas: 86cm x 67cm.

Framed: 105cm x 85 cm.

Height
105cm (41.34")
Width
85cm (33.46")
Depth
4cm (1.57")
Date of Manufacture

Period Portraits has dated this Baroque Oil Portrait Painting to the 17th Century.

Reference Numbers
Sellingantiques Ref
SA1228788
Period Portraits
Period Portraits
Sellingantiques verified Since Jan 2017

Specialist dealer in portraits from the 17th century to the 20th century. Our stock includes quality oil paintings, drawings, and mezzotints

Dealer Profile

You can view the stock and full dealer information on the Period Portraits Profile Page

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An oval late 17th-century oil portrait of a long-haired nobleman in dark plate armour with a white cravat, set within a carved gilt frame.
1 / 9
Archive I An oval late 17th-century oil portrait of a long-haired nobleman in dark plate armour with a white cravat, set within a carved gilt frame.

Sir Godfrey Kneller (1646-1723) - Portrait of Algernon Capel 2nd Earl of Essex (1670-1710)

Archive II An oval late 17th-century oil portrait of a long-haired nobleman in dark plate armour with a white cravat, set within a carved gilt frame. View II
Archive III An oval late 17th-century oil portrait of a long-haired nobleman in dark plate armour with a white cravat, set within a carved gilt frame. View III
Archive IV An oval late 17th-century oil portrait of a long-haired nobleman in dark plate armour with a white cravat, set within a carved gilt frame. View IV
Archive V An oval late 17th-century oil portrait of a long-haired nobleman in dark plate armour with a white cravat, set within a carved gilt frame. View V
Archive VI An oval late 17th-century oil portrait of a long-haired nobleman in dark plate armour with a white cravat, set within a carved gilt frame. View VI
Archive VII An oval late 17th-century oil portrait of a long-haired nobleman in dark plate armour with a white cravat, set within a carved gilt frame. View VII
Archive VIII An oval late 17th-century oil portrait of a long-haired nobleman in dark plate armour with a white cravat, set within a carved gilt frame. View VIII
Archive IX An oval late 17th-century oil portrait of a long-haired nobleman in dark plate armour with a white cravat, set within a carved gilt frame. View IX
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An oval late 17th-century oil portrait of a long-haired nobleman in dark plate armour with a white cravat, set within a carved gilt frame.
SIR GODFREY KNELLER (1646-1723) - PORTRAIT OF ALGERNON CAPEL 2ND EARL OF ESSEX (1670-1710)
Ref: SA1228788
An oval late 17th-century oil portrait of a long-haired nobleman in dark plate armour with a white cravat, set within a carved gilt frame.
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FAQs

Baroque portraiture from the late 17th century typically features dramatic lighting, rich dark tones, formal aristocratic posing, and detailed depictions of clothing such as lace cravats, wigs, and plate armour.

Portraits from this era were primarily executed using oil paints ground from natural pigments mixed with linseed oil, applied onto stretched linen canvas, and housed within carved or moulded gilt wood frames.

Authentic works demonstrate natural age craquelure across the paint surface, historical lining or stretcher wear, period-appropriate timber construction, and stylistic alignment with recognised court painters of the era.

An antique portrait serves as a dramatic focal point when hung above a mantelpiece, placed within a gallery wall, or contrasted alongside contemporary architectural furniture.

Keep oil paintings away from direct sunlight, extreme humidity, and sudden temperature fluctuations, and dust the surface gently using a soft, dry camel-hair brush to protect the paint layer and gilding.
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