After Godfrey Kneller

The canvas has been lined. The surface is slightly dirty, there are lines of craquelure throughout and some abrasions from the frame to the edges. There are patches of paint shrinkage and paint loss in places and faint stretcher marks. The varnish has slightly discoloured. UV light reveals a thick layer of opaque varnish which prevents further examination. Held in a gold painted wooden frame. Unexamined out of frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

 

Sir Godfrey Kneller's portrait of Peter the Great was commissioned by William III in the late 1690s. Kneller was a leading baroque portrait painter to court society and painted a series of ten reigning European monarchs, including King Louis XIV of France. Preparatory sketches for Peter's portrait were made in Utrecht in 1697 and the final version, now in the Royal Collection, was painted a year later during the tsar's visit to England and clearly reveals the influence of Van Dyck. Peter's 'Grand Embassy' to Europe failed in its primary aim of forming anti-Ottoman alliances, but the trip was formative in stimulating his programme of Westernisation in Russia.