Epstein Secrets

as) by Sir Geofrey Kneller 1689 > Can we think further on this as I have been to the NPG > archive and the > portrait stands up quite well to Lord Portsmouth's. I > had thought that the > drapery was a bit disappointing but it is not too different > to Lord > Portsmouth's (there was a good image of bot

only known > portrait of Kneller at this age to be available on the open > market as it is > highly unlikely and almost inconcievable that the > Portsmouth portrait would > ever be for sale and we would market your painting as such. > The deadline for receiving paintings for the July sale is > at the

res, but it was very difficult to sell in this climate, and I agreed to wait it out. Also, note that also are in agreement that it is not a "studio" Kneller, which most of the ones that come up for auction are. They also are keenly aware of its importance, and of this copy, and they made comparisons with

ed by Kneller on the whole, > who would paint > versions of popular portraits such as this and sometimes > assist in > completing paintings which Kneller had started, which is > not the case here. > We do Private Treaty sales at Sotheby's but, the EFTA00750542 > importance of the sitter in > this

s studio, that this portrait was done ENTIRELY in his hand. They can tell by brush strokes. My portrait was examined personally (and compared to the Portsmouth copy) by several people from Sotheby's, including by the head of their painting department in London. Furthermore, it was also personally examined

been authenticated many times in person. I have never had a single expert in 17th century English portraiture question it, and that includes leading Kneller scholars, experts from both Christies and Sothebys, experts at the National Portrait Gallery, Huntington Art Collections, as well as leading art dea

t was a fun journey. It specifically stated in the expert documentation, that it was NOT a studio copy, but in contrast to many works attributed to Kneller, which were done by his studio, that this portrait was done ENTIRELY in his hand. They can tell by brush strokes. My portrait was examined personall

en Anne," March, 1934, no. 226, lent by Viscounts Galway THE FIRST AND MOST IMPORTANT PORTRAIT OF SIR ISAAC NEWTON. This portrait is known as the "Portsmouth" type, depicting him at the peak of his fame two years after the publication of his monumental work Principia Mathematica, London, 1687. This port

ted a large portrait to the Royal Society, labeling it prominently in gold letters - "Sir Isaac Newton, President."" "In 1689, when Newton visited Kneller's London studio, he was an obscure Cambridge scholar, author of an esoteric book incomprehensible to all but a EFTA00587578 few learned mathemat

ehensible to all but a EFTA00587578 few learned mathematicians. Drawing on 17th-century artistic conventions for depicting religious anchorites, Kneller produced a picture of a melancholy recluse enclosed in a windowless cell- like study and driven to the verge of illness through obsessive reading.