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ID #SA1242683
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£9,200
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Portrait of Algernon Capel 2nd Earl of Essex (1670-1710) - By Sir Godrey Kneller
For sale by Period Portraits
for sale €10,764     $11,684
£9,200
Period Portraits

Period Portraits

Sellingantiques Verified Since Jan 2017
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    Specialist dealer in portraits from the 17th century to the 20th century. Our stock includes quality oil paintings, drawings, and mezzotints
Id #SA1242683
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Portrait of Algernon Capel 2nd Earl of Essex (1670-1710) - By Sir Godrey Kneller

17th century
For Sale by Period Portraits
Description

Fine quality and sensitively rendered 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.

Price: £9,200

Date of Manufacture

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

Physical Dimensions
Height
105cm (41.34")
Width
85cm (33.46")
Depth
9200cm (3,622.05")
Reference Numbers
Sellingantiques Reference
SA1242683
Description
Fine quality and sensitively rendered 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 Baroque oil portrait depicting a nobleman in plate armour with a white lace cravat and full wig, housed in a carved gilded frame.
fig 1. Portrait of Algernon Capel 2nd Earl of Essex (1670-1710) - By Sir Godrey Kneller

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 Baroque oil portrait depicting a nobleman in plate armour with a white lace cravat and full wig, housed in a carved gilded frame.
fig 2. Portrait of Algernon Capel 2nd Earl of Essex (1670-1710) - By Sir Godrey Kneller

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 Baroque oil portrait depicting a nobleman in plate armour with a white lace cravat and full wig, housed in a carved gilded frame.
fig 3. Portrait of Algernon Capel 2nd Earl of Essex (1670-1710) - By Sir Godrey Kneller

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.

Price: £9,200

Date of Manufacture

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

Height
105cm (41.34")
Width
85cm (33.46")
Depth
9200cm (3,622.05")
Reference Numbers
Sellingantiques Ref
SA1242683
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

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An oval Baroque oil portrait depicting a nobleman in plate armour with a white lace cravat and full wig, housed in a carved gilded frame.
1 / 4
Archive I An oval Baroque oil portrait depicting a nobleman in plate armour with a white lace cravat and full wig, housed in a carved gilded frame.

Portrait of Algernon Capel 2nd Earl of Essex (1670-1710) - By Sir Godrey Kneller

Archive II An oval Baroque oil portrait depicting a nobleman in plate armour with a white lace cravat and full wig, housed in a carved gilded frame. View II
Archive III An oval Baroque oil portrait depicting a nobleman in plate armour with a white lace cravat and full wig, housed in a carved gilded frame. View III
Archive IV An oval Baroque oil portrait depicting a nobleman in plate armour with a white lace cravat and full wig, housed in a carved gilded frame. View IV
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Telephone 07889 859729
Location
North Yorkshire
United Kingdom
Verified Since Jan 2017
Items For Sale 46
Items Sold 63
Period Portraits
Period Portraits
Verified Since Jan 2017
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Location: North Yorkshire, United Kingdom
Verified
Jan 2017
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An oval Baroque oil portrait depicting a nobleman in plate armour with a white lace cravat and full wig, housed in a carved gilded frame.
PORTRAIT OF ALGERNON CAPEL 2ND EARL OF ESSEX (1670-1710) - BY SIR GODREY KNELLER
Ref: SA1242683
An oval Baroque oil portrait depicting a nobleman in plate armour with a white lace cravat and full wig, housed in a carved gilded frame.
Detail View 1
Detail View 2
Detail View 3
Archival Detail
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Written by Sellingantiques from the dealer’s photographs and listing
  • ObjectOil Painting
  • Period17th century
  • StyleBaroque
  • MaterialOil on Canvas, Giltwood
  • ColourDark Brown
  • MotifsPlate armour, Full-bottomed wig, Coat of arms, Carved oval frame
  • SizeH 105 cm (41 in) x W 85 cm (33 in) x D 9200 cm (3622 in)

This 17th century oil painting depicts Algernon Capel, 2nd Earl of Essex, shown half-length in plate armour with a white lace cravat and full-bottomed dark brown wig. Painted in the Baroque style from the studio of Sir Godfrey Kneller, the artwork features dark brown tones against a muted background, accompanied by a small coat of arms near the left edge. The canvas rests within an ornate, carved oval giltwood frame exhibiting traditional decorative scrollwork and relief mouldings. The framed work measures 105 cm high by 85 cm wide. Display this piece in a gentleman's library or study, where it hangs suitably above the mantel to bring historical presence and traditional character to an interior. The composition provides an arresting focal point when mounted on a main wall, anchoring a traditional or transitional interior scheme with its rich historical narrative and fine craftsmanship.

Late 17th-century British portraiture, dominated by the Baroque style and court painters like Sir Godfrey Kneller, often depicted sitters in formal posture, plate armour, or draped fabrics, complemented by full-bottomed wigs to signal noble rank and military status.

Portraits from this era were typically executed using oil paints ground from natural earth pigments mixed with linseed oil on hand-woven linen canvas, presented in carved pine or composition frames layered with water gilded gold leaf.

Authentic period portraiture exhibits characteristic fine craquelure across the paint layer, hand-forged iron tacks, hand-carved wooden stretcher bars, and evidence of historical pigment application rather than modern synthetic paints.

An antique portrait painting can be positioned above a fireplace mantelpiece or console table, where its dark tones and gilded frame create a focal point against modern muted wall shades.

Gently dust the frame and canvas surface using a dry, soft-bristled brush, avoiding water, chemical solvents, or commercial polishes, while displaying the piece away from direct sunlight and fluctuating humidity.
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