Portrait of a Young Gentleman C.1685; Circle of Sir Godfrey Kneller (1646-1723)

This exquisite portrait passed through the Mellish family, family seat Blyth Hall, by direct descent for circa 330 years. The Mellish family resided at Blyth Hall, an ancient building that is believed to have been in the hands of just three families since the Norman Conquest, and the ancient Hodsock Priory. It a superb example of English portraiture and notable for its depiction of the garments and the lace, of which has been carried to such precision, and one of the finest examples. The work is presented in a fine elaborately carved and gilded period frame.

Observing the technical virtuosity of this artist is quite astounding. In this exquisite portrait, as much attention has been paid to the sitter’s facial features as to the expensive fabrics. It is remarkable for the soft modelling of the face and the ingenious flourishes, such as the very fine eyelashes. The treatment of the sumptuous crimson wrap is superb but the pièce de résistance is the depiction of the lace cravat – it is amongst the finest depictions of lace that you will see and is the work of one of the best drapery painters of the day. It is interesting to acknowledge that these types of lace cravats were so expensive that even young men of fashion had only one or two at any one time (costing £5,000 each in today’s money, by some accounts).

By tradition the sitter is William Mellish (1708-1791), who inherited the Mellish family seat of Blyth. However, it is more plausible that the portrait represents his father, Joseph Mellish (1675-1733) and painted circa 1685. This is based on the style of portrait with the feigned oval and the sitter’s attire (the encompassing elaborate wrap, the style of elaborately worked lace cravat, the elbow-length coat sleeves, and the wide shirt sleeves underneath); these elements were fashionable circa 1685. Joseph Mellish would have been about 10 years of age which is congruous with the portrait.

The Mellish family were originally London merchants. In 1635 John Mellish of London purchased the Blyth estate in north Nottinghamshire. He was succeeded by his eldest son Edward Mellish, at one time merchant at Oporto, Portugal. Edward died unmarried in 1703 and left his estate at Blyth to our sitter, Joseph Mellish (1675-1733), the son of his cousin Samuel Mellish (1634-1707) and his second wife Joan.

Joseph was one of Newcastle’s earliest and most important political supporters in the county. He entered Cambridge College in 1692, and the Inner Temple the following year. He died in June 1733, aged 58, and was buried at Blyth. He married Dorothy or Dorothea Gore (1683-1738), daughter of Sir William Gore, Lord Mayor of London (d 1708), and had two daughters and four sons. His oldest son, Edward (1707-1757) inherited the family estates and these passed to his second son, William (1708-1791), who was MP for East Redford, upon the death of Edward. William sold a number of small estates in Nottinghamshire in the 1760’s and purchased Hodsock Priory in 1765.

Charles Mellish (1737-1797), the son of William Mellish, was interested in the history of Nottinghamshire and in antiquarian study. His son, Henry Francis Mellish, became Lieutenant Colonel and aide-de-camp to General Ferguson during the Peninsular War. He sold the Blyth estate in 1806 and Hodsock (Hodsock Priory) became the main family residence.

On his death in 1817 the Hodsock estate passed to his sister and co-heir Anne (1781-1855), who had married William Cecil Chambers in 1811. The latter also died in 1817. The sons of William Cecil and Anne Chambers, William Mellish and Charles Henry Chambers, died in 1845 and 1840 respectively.

On Anne's death in 1855, the estates passed to her cousin, William Leigh Mellish (1813-1864), the son of Edward Mellish, Dean of Hereford (1767-1830). Colonel Henry Mellish (1856-1927), the son of William Leigh, was the last m

Much more info about this item at: www.titanfineart.com

In a market saturated with available paintings, Titan Fine Art offers a distinct advantage: we sift through thousands of works to provide a specially curated selection. Each piece is meticulously chosen based on technical merit, provenance, and decorative appeal, ensuring our clients view only the finest examples of British and European art.

With over 20 years of expertise and 1,000+ works placed with collectors and institutions, we are one of the most prolific specialists in 17th and 18th-century portraiture. We combine a scholarly approach with museum-level rigor to replace the uncertainty of the open market with absolute confidence.

Why Buy From Titan Fine Art?

• Expertly Curated Selection

We act as your expert eye, selecting only high-quality works that offer genuine historical and artistic value.

• Museum-Level Research

Each portrait is supported by extensive academic research, often exceeding 40 hours, to establish attribution, sitter identity, and historical context.

• Professional Conservation

All paintings are carefully cleaned and stabilised by professional conservators, and are presented ready to hang.

• Transparent Pricing

No buyer’s premium or hidden fees—unlike auction houses, where additional costs can add 25–35%.

• Export Pricing Advantage

Reduced pricing is available for works exported outside the UK.

• Specialist Global Shipping

We manage the entire process, including custom crating, export documentation, and fully tracked delivery worldwide.

• Buy with Confidence

A 7-day return policy and the option to pay in GBP, USD, or EUR for convenience and transparency.

• Original Period Frames

Many works retain their original carved and gilded frames, which are works of art in their own right and enhance both historical authenticity and decorative impact.

• Personal Advisory Service

We work directly with collectors and interior designers, offering guidance on selection, scale, and placement—including bespoke room mock-ups on request.

Subscribe to our monthly 'new item alert' to be the first to hear about new works